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MUSIC IN TEXAS
A SURVEY OF ONE ASPECT OF
CULTURAL PROGRESS
LOTA M. SPELL
Austin, Texas
1936
Copyright, 1936, by Lota M. Spell
All rights reserved, including the
right to reproduce this book or
parts thereof in', any Jorm.
PREFACE
THE purpose of this work is to make available to teachers,
club workers, and others interested in the cultural develop-
ment of the State of Texas some facts by which the progress
of music may be traced, and also some songs actually sung
through the years, as illustrative material Many of these, here
reproduced from early editions in the possession of the writer,,
while in no sense masterpieces of musical art, are represent-
ative of the taste of the people at different eras. A collection
of dances and instrumental music will be issued separately in
larger format later*
The thanks of the writer for assistance are due to too many
to call each by name. Especial thanks are due Dr. R. C. Ste-
phenson for the translation of the Spanish songs; and to Dr.
Eduard Micek, Dr. Carlos Castaneda, Miss Hilda Widen
and Miss Julia Harris, of Austin; Miss Julia Owen of Navasota;
Sr. Julio Galindo of Mexico City; Miss Jovita Gonzales and
Mr. Oscar Fox of San Antonio; Mrs. Selma Metzenthin-Raun-
ick and Mr. H. M. Dietel of New Braunfels; and Dr. Charles
B. Qualia of Lubbock, for aid in locating materials. Without
the interest and insistence of the officers and members of the
State Federation of Music Clubs the work would never have
been completed or issued.
The courtesy of Silver, Burdett and Company in permitting
the use of "Clang, Clang/' "Choosing a Flower," and "At
the Window" from the Progressive Music Series; of Oscar Fox
and Whitney Montgomery for "Corn Silks and Cotton Blos-
soms**; of the Adolf Fuchs Memorial Association for the use
of the Fuchs songs; and of Dr. H. F. Estill for his adaptation
of the text of "Will you come to the Bower" is gratefully
acknowledged.
To my aunt,
Lota Dashiell
bom in Texas, 1853,
who sang to me, in my childhood,.
the songs of early Texas;
and to the members o[ the
State Federation of Music Clubs,
whose insistence led to its preparation;
this work is dedicated
TABLE OF CONTENTS
BOOK L THE PERIOD OF DISSEMINATION
CHAPTER PAGE
I Music among the Indians ~ 3
II Music in the Texas Mission 6
III Spanish -Mexican Folk Music H
IV Anglo-American Music 23
V The Early German Contribution 34
BOOK II. ABSORPTION FROM A WIDER FIELD
VI Music of the Mexican War 46
VII Other Foreign Contributions 52
VIII Echoes of the Old South 61
IX Some Musical Annals before 1890 69
X Music Education to 1910 80
BOOK III. THE PERIOD OF AMALGAMATION
XI Effects of the World War on Musical Progress .... 89
XII Singing Societies in Texas 92
XIII Opera in Texas 101
XIV The Symphony Orchestra in Texas 107
XV Music Education, 19H-1936 113
XVI Other Agencies Contributing to Musical Progress 119
BOOK IV. THE BEGINNINGS OF CREATIVE WORK
XVII Texas Folk Music 127
XVIII Music Composed by Texans or in Texas 137
APPENDIX. Texas Concert Calendar, 1920-1921 .... 144
INDEX. 1 47
LIST OF SONGS INCLUDED
Padre Nuestro 1
An old Alabado - - 1 1
Alabado as sung in Texas today 12
Lullaby of a Spanish Mother 15
Call of the Tamale Vender 16
Music of the Pastores:
De larga Jornada 1 8
Oh peregrina 19
La Viudita 2 1
Christmas Carol 22
\Vill you come to the Bower 25
The Banks of the Blue Moselle opposite 26
Old Windham (two forms) 29, 30
German Folk Song 36
At the Window 39, 40
Song of the Texas Ranger I'm Afloat 46, 47
The Campbells are Coming 49
The Maid of Monterey 51
Clang! Clang! Clang! 56
Choosing a Flower 57
Come, oh come with me - 59, 60
Lorena 64
Take me home 66 > 67
The Vacant Chair 85
Lebewohl by Silcher 95
On Yonder Rock Reclining - 102, 103
Yellow Rose of Texas 128, 129
Down on de rollin* Brazos 132, 133
Palomita - 13 5
Corn Silks and Cotton Blossoms 138, 139
LIST OF ILLUSTRATIONS
PAGE
Frontispiece Specimen of oldest printed music used
in Texas
'The Invitation" A Texas paraphrase of "Will you
come to the Bower" 25
First advertisement of a musical instrument 26
Cards of early music teachers in Texas press 27
The first concert hall in Texas the State Capitol 28
Announcement of first public concert at Houston 28
Announcement of first sacred concert at Houston 29
Title page of Fallersleben's Texas Songs 35
Franz Van der Stucken 38
Invitation to the first singing society in Texas 92
The first German singing society 93
Women's Choral Club, Houston 98
The Dallas Symphony in its early days 109
BOOK I
THE PERIOD OF
DISSEMINATION
CHAPTER I
Music Among the Indians
hundred years ago the great stretch of land between
the Rio Grande and Red River was inhabited only by
wandering Indians engaged largely in hunting, fishing, and
fighting any other tribes who trespassed upon their hunting
grounds. All were of a low degree of civilization, if by that term
we understand the practice of having fixed homes, knowledge
of the useful arts such as tool-making, home building, stock
raising, crop growing, spinning and weaving, and mastery of
means of transmitting experience to those who lived after them.
The Indians who roamed the wilds of Texas even two centuries
ago were still nomadic, some were even cannibalistic. It is
easy to understand that among a people who lived only to
eat and fight such a thing as culture was long unknown. For
culture, and music is one form of it, can come into existence
only after the barest necessities of life have been met. Until
a man can protect himself against the weather and his ene-
mies, and discover ways of securing food, he will not likely
turn his attention to drawing pictures, modeling, making mu-
sic, or writing books. And that is the reason that music and
other forms of culture the finer elements in a man's life
were very slow in developing in Texas.
Nevertheless the earliest music in T'exas was that of the In-
dians. On first thought it seems surprising that an Indian,
who lived almost entirely in the open and gathered his food
day by day, moving about whenever the game supply be-
came scarce, and who had little care for the future, should
ever know anything about music. But people who live in the
great outdoors hear the music of Nature, which the child of
the city seldom hears. The Indian heard the sounds of the
water, of the leaves on the trees, of the birds in the woods,
and many other sounds only heard in the country. And he
must have tried to imitate some of the sounds he heard* So
long as he used his voice only in talking, his range of pitch
was small; but when he began to imitate the songs of the
Music in Texas
winds and the birds, he raised and lowered his voice and
used new tones he had never needed before. And when he
did so, he had begun to create one element of music melody.
All peoples who have spent their lives largely in the open
have noticed the marvellous things happening about them, and
long ago they discovered that many seem to follow a regular
routine. They observed the regularity with which the sun and
moon rose and set, the paths the stars travelled, the rise and
fall of the tides, the coming of spring and winter, the beginning
and the end of plant, animal, and human life. They became
aware that within themselves the heart beat by a regular pat-
tern; the lungs breathed in and out; in order even to walk or
run, the feet are raised and put down again regularly. And
from all those things, primitive people like the Indians gained
some feeling for what we call rhythmthe repetition of some cer-
tain pattern. They noticed that in order to have rhythm some
contrast was always necessary the heart beat loud and soft; the
lungs breathed in and out; the sun rose and set, as did the moon
and stars; the tides rose and fell; in each and every pattern there
was the contrast of strong and weak, of loud and soft, of an ac-
cent and the lack of it. When they began to imitate any of
these patterns they made accented and unaccented sounds by
striking with sticks or stones on hollow logs, thereby creating
rhythm; after a while they found they could make better
sounds by striking on skins stretched across the ends of hollow
logs; then they had begun to construct musical instruments,
drums. When they began to beat on logs or drums as an ac-
companiment to the tread of their feet on the ground, they were
composing march rhythms. Soon they were clapping their
hands or moving different parts of their bodies according to
some regular pattern; then they were dancing. \Vhen they imi-
tated the beat of their hearts, they used double rhythm; from the
action of their lungs, they learned to create triple rhythms. And,
even so long ago, they realized that when they sang or danced
no faster than their hearts beat normally, the music was quiet
and satisfying and made them feel contented; when they sang
or danced faster, their blood was stirred to quicker action and
they were soon ready to fight.
It has always been true that when people notice the marvel-
ous things that happen about them, they soon begin to wonder
what great power directs everything. From that wonder came
Music Among the Indians
religion a feeling of awe and respect for some power greater
than man can understand. To that mysterious being who sent
the rain and the storm, the Texas Indian early directed his pray-
ers; in honor of that Invisible Spirit he danced and sang as best
he could. So music came into use as an aid in appealing to the
Great Power above. By moving parts of his body, by beating
on wood or stones, by blowing through reeds or shell horns, and
by raising his voice to a greater range than in speaking which
is usually only five tones he tried to imitate some of the sounds
he heard, and this gave him intense pleasure. As he thought
that what gave him pleasure would also please his Great Fath-
er, he danced and sang with great fervor in his prayers and
ceremonies. With the Indian began the association in Texas
of music and religion.
The Texas Indian made other uses of music. The squaw
crooned tunes to her baby, who made his first attempts at pro-
ducing rhythms on a rattle made from a gourd filled with tiny
stones. \Vhen the young brave went courting, he sang or played
tunes on a reed to lure the maiden he loved from her wigwam.
When one of the tribe was sick, the Medicine Man called in
some of the best singers, or himself sang over trie sick one in
order to drive away the evil spirits. When the brave went to
war, he made noises on his drum or with his rattles or shell
Korns, to arouse all to action. Such music seemed to stir them
to increased effort.
Although he learned from his great teacher, Nature, some-
thing of those essential elements of music melody and rhythm
the Texas Indian never learned any way of writing down his
music so that others might play and sing just what he
did. His music was taught by sheer imitation the young
Indian did what he heard his elders do. This is the reason
that none of the songs the early Indians sang has been pre-
served in its original form. From the accounts of white men
who visited them later we know that they had various types of
songs; many were wild and blood-curdling; others were like a
quiet chant. To these white men, who knew so much more
about music, that of the Indians sounded like a lot of noise
such as children make with rattles, sticks of wood, and crude
drums; it did not seem worth preserving. But today we wish
we knew just what the Indian sang in Texas before the white
man came, and what the rhythms were he beat on his crude
drum.
(5)
CHAPTER II
Music in the Texas Mission
ABOUT a quarter of a century after Columbus discovered
America, some of the Spaniards cruising about the Gulf of
Mexico landed on the coast. Led by propitious Fates, they climb-
ed an ever-ascending road westward until from a great height
they saw nestling in a tropical valley a city which they soon
learned was the capital of the Aztecs, a highly civilized Indian
tribe. By a series of fortunate circumstances, the small band
of foreigners quickly made themselves the masters of what
is today called Mexico City. By 1521, the leader, Hernan Cor-
tez, was begging that missionaries be sent from Spain to con-
vert these Indians to Christianity and to assist in the conquest
of other regions. The first three came in 1523; and thereafter
for three centuries there poured from Europe a continuous stream
of friars and priests, who marched beside the explorers, erected
monasteries in the regions brought under Spanish control, and
established missions on the frontiers* For the mission was a
frontier institution destined to do pioneer work in Christianiz-
ing and civilizing, according to the standards of Europe, the
natives of the territory Spain was adding to her domains.
Music was soon found to be an important means in achieving
this purpose. The early missionaries reported that the Indians in
practically every region responded quickly to music. In order
to avail themselves of this means of peaceful approach, they
asked the king to furnish singers and instrument players who
should accompany expeditions into hostile territory. In reply,
the emperor Charles V, who was also the king of Spain, com-
manded the church authorities, for the Church controlled all
education in those days, to furnish musicians wherever needed,
in order to further the purposes of the Spanish crown. To
supply musicians, it was necessary to teach the natives. The
first teacher of European music in North America was Fray
Pedro de Gante, who established a school in Mexico City in
1527, and at once made music one of the most important sub-
jects of the curriculum, for musicians were needed in the ser-
vices of the Church as well as in missionary projects.* Soon
monasteries dotted the Valley of Mexico and then the regions
*L. Spell, "The First Teacher of European Music in America," In
Catholic Historical Quarterly, New Series, II (1923), 372-378.
Music in the Texas Mission
westward to the Pacific; in all these there were teachers of mu-
sic who taught the young Indians not only to sing and play
but also how to construct all the instruments then known in
Europe. Rapidly the line of missions was moved northward;
by 1600 the Spanish frontier line had reached the Rio Grande.
From the adjacent regions the missionaries drew the Indians
with whom they labored in their efforts at civilization; some of
these were from the wandering Texas tribes.
An entirely different purpose had brought the Spaniards to
that stream much earlier. The Spanish leaders, the famed
conquistador es, dreamed of finding gold and other treasures,
of becoming fabulously wealthy over night. Hardly had they
made themselves masters of the Aztec territory, when strange
tales came to their ears of gold in the "great unknown North";
always lured by hopes of riches without labor, a band of in-
trepid explorers crossed the Rio Grande and pushed on into
what is today New Mexico. The point at which they crossed
they called by the Spanish word for ford, "El Paso." But the
expected treasure was not found; only the homes of the cliff-
dwellers met their disappointed gaze. That group returned
to the fertile valleys of the Aztecs, but Hew Mexico was not
forgotten. Before the end of the century other expeditions
had gone north with colonists, cattle, and supplies to establish
permanent settlements in the territory Coronado and his band
had explored.
It was as an approach to those settlements in New Mexico
that the first mision was established near the present city of
El Paso in 1659. There the first European music kno-wn in
Texas was taught to the Indian boys who were gathered within
the sheltering walls by a kindly missionary fired with the hope
of civilizing them. Friar Garcia de San Francisco, who es-
tablished this mission of Our Lady of Guadalupe, had pre-
viously worked in the missions in New Mexico and had built
an organ for the chapel of each one he served. While we
have no definite statement that he did the same for the Tex-
as mission in which he worked until 1671, it is probable that
he built the first organ used on Texas soil; we know that while
training his boys to live like civilized people he taught them
to sing the songs and prayers of the church and to play on
various other instruments.* That the mission did not grow
*k Spell, "Music TeacMng in New Mexico in the Seventeenth Cen-
tury," in New Mexico Historical Review, II (3927).
(7)
Music in Texas
into a famous one is possibly due to the troubles that followed
in New Mexico; in 1680 the Indians by a prearranged plan
all rose in rebellion, and killed or drove back across the Rio
Grande every Spaniard in the territory. Then, for a time,
they were free once more.
The Spaniards proved themselves earnest and determined
people, especially in trying to Christianize the natives of the
New World. With the Mendoza expedition, which penetrat-
ed as far as San Angelo, came Father Lopez, bringing with him
a portable organ. On this he produced music which amazed the
Indians. This instrument is the first of the organ family specifi-
cally named in the records of Texas. Other expeditions crossed
the Rio Grande further south, and some made settlements* Over
along the Trinity River was a tribe of Indians called the Tejas;
they were said to be docile. Before the end of the seventeenth
century the missionaries were at work among these natives, from
whom it is said comes the name of the state. But before much
progress in civilizing them could be made, the imminence of the
French caused the Spanish authorities to abandon these mis-
sions and establish others further west. The sites chosen for
the most famous of the Texas missions, five of which still stand,
were along the San Antonio River. This was far enough west
to bring the missionaries in touch with the nomadic plains tribes
which crossed Texas according to the seasons in the fall they
went south to Mexico; in the spring they turned north. The
missionaries tried to persuade them to live in one place, to
learn the principles of the Christian religion, and to work.
They tried to induce them to want better homes, food and
clothes, and to teach them other ways of amusing themselves
than fighting, getting drunk, and eating other human beings,
Father Solis reported on the work of the father in charge at
the Mission Rosario:
Eaah Saturday he calls them together and has them recite the
Rosary, with the various mysteries, and has them sing the A lab ado.
Before Mass on Sunday and feast days he makes them recite their
prayers and the lessons of the catechism, and afterward he preaches
and explains to them the 'Ghristian doctrine. . . .*
But most of the Texas Indians loved freedom more than civiliza-
*"The Solis Diary of 1767," in Preliminary Studies of the Texas
Catholic Historical Society, I (March, 1931), No. 6, 20-21
(8)
Music in the Texas Mission
tion, which implies both routine and labor; lured by beads, trin~
kets, food, and music, they would come into the mission and stay
awhile; then they would run away and strike the trail again.
Those who stayed learned many of the manual arts; through
their labor the missions near San Antonio were built of stone,
enlarged, and beautified; as they learned methods of irrigation,
garden spots extended along the river; and under their care the
herds of cattle grew large and prosperous. In the mission the
Indian women did the cooking, spinning, and weaving. Each
mission was soon an institution in which the necessities of life
were produced.
In the daily life of the mission, music played an important
part. At dawn there were matins; before the day's work was
begun and at meal time there were prayers; at evening there
were vespers. On Sunday and feast days there were the other
regular services of the church. At all of these, there was mu-
sic, the prayers being taught to the Indians set to very simple
tunes, sometimes a native chant. Usually both prayers and
hymns were taught responsively; the men and women assembled
in the courtyard were divided into groups, one of which sang
a line of a prayer or hymn, then the other followed with the
same. All learned to sing the Pater Noster, the Salve, and
the Ave; some of the more gifted were taught to sing more elab-
orate chants and hymns and to play on such instruments as the
guitar, flute, and violin. There are no organs mentioned in the
existing reports of the activities in the missions along the San
Antonio River, but the music at San Juan, which was founded
in 1718, was unusually good, for Father Soils reported in
1767:
All of these Indians speak Spanish. . . . .Most of them play some
musical instrument, the guitar, the violin or the Harp. All have
good voices, and on Saturdays, the 19th of each month and cm the
feasts of Our Lord and of the Blessed Virgin they take out their
rosaries, wlhile a choir of four voices, soprano, alto, tenor and bass,
with musical accompaniment, sings so beautifully that it is a de-
light to hear it Both men and women can sing and dance just
as the Spaniards, and they do so, perhaps, even more beautifully
and more gracefully.*
One of the first hymns sung in Texas, according to tradi-
tion, was the Alabado, introduced by Fray Margil de Jesus,
(9)
Music in Texas
PATER NOSTER
GREGORIAN CHANT
Our Fa - - thcr. who art in Heav - - - en Hal -
Give us this day our dai - ly br^ad;
And' for -
give us out Tees - - - ( pass - es Lead us not in- to temp - - ta - tion
m
But de liv - er us from ev J. ^ men . A men.
FIG.1
one of the earliest of the missionaries to Texas. When his
group reached a point a few miles north of the center of the
present city of San Antonio, they were exhausted, hungry and
thirsty. They had travelled over a long stretch of territory
without finding any prospect of water. In the heat of a Tex-
as sun, it was a simple matter to become parched, and their wa-
ter supply was exhausted. But the courage of the leader nev-
er flagged, although his companions had lost heart completely.
Resting under a large tree, Fray Margil happened to look up
and spied a vine from whose branches hung luscious grapes.
In trying to reach some of these he gave the vines a tug that
(10)
Music in the Texas Mission
AN OLD ALABADO
A-la-ba-dcfy en-sal-za--do Secfel di- vi~ - no Sa- - cra-men-to,-
En cjuienDfoso-cul-tojQ-sis-te De ios ol-rocs el sus-ten-to.
Let us sing the praises and glories
Of what the Sacrament can avail us,
Let us sing that God in person comes
To stay the spirits that fail us.
uprooted them; at once a great Jet of water spurted forth. As
the amazed men quickly gathered about the spring, they found
other smaller springs had also broken through; and soon the
water was trickling off into a beautiful little winding stream.
This the group dedicated to St. Anthony; and on the banks
of that stream the city of San Antonio was later founded. In
praise of God, who had cared for them in such bountiful fash-
ion, all fell on their knees and sang the Alabado, which was
later learned by all the neophytes in the mission. Various
texts are known; the last stanza attributed to Margil is the
following:
He who wishes to follow God
And enter into his kingdom,
One tlhing must declare
And say with all his heart:
"To die rather than to sin,
Rather than to sin, to die."
Some glimpses of the life and customs of the Indians in the
missions are given by a volume written by Bartolome Garcia,
a missionary at San Francisco de la Espada from 1750 to 1760.*
The numerous shortcomings of the natives were usually attri-
*Por further details see the writer's "The First Textbook Used
in Texas" in The Southwestern Historical Quarterly, XXIX (1926)
289 - 295 -' (ID
Music in Texas
ALABADO AS SUNG IN TEXAS TODAY
A-la-ba-do seacl San-tl --si - mo Sacra-
erito
del ai- tar Y la
Virgen con-ce bid*
Sia pc ca - d<Q> ri - gi - - nal.
Sea en cielo y en la tierra El coraz<5n amoroso
Alabado sin cesar
Sing praises, sing of the
Sacrament,
Its solemn consecration,
Sing praises, sing Mary the
Virgin
Of sinless generation.
Que hasta ml quiere llegar.
Now botai in Heav'n and upon the
earth
May praises ring unending
Of that compassionate Master
That over us is bending.
buted by them either to laziness or forgetfulness. Their
insistent belief in the meaning of the hoot of an owl,
the song of a bird, the cry of an animal, or dreams
and evil spirits gave the missionaries much concern. Then
the Indian persisted in cursing; especially when lyimg, angry,
or doing wrong, he invoked the name of God, the cross,
the Virgin Mary, and all the saints of his acquaintance,
He was not always an enthusiastic church-goer; sometimes
when he attended mass he fell into a blissfully somno-
lent attitude. Fasting had small appeal for him; instead he
reveled in human flesh, and in drinking a concoction made
from peyote or the laurel beans, both of which served as nar-
cotics. Furthermore the Indian danced and sang his own
songs, many of which did not find favor with the church fath-
ers* The fttitc&e especially appealed to the natives* who con-
tended it was an innocent diversibn; while the missionaries
said it was heathen, superstitious, and dangerous* for it
was always danced at drunken ravels. Clearly the native
dances and songs were too closely associated with the Indian's
owtt forms of religion for them to be generally acceptable in
the Christian chapel. The fact that the Indians persisted in
(12)
Music in the Texas Mission
using their own songs and dances reveals how deep-rooted
some of their traditions and practices were.
The missions were supported as homes for the Indians until
1794; by that time it seemed to the Spanish government that
the natives should be sufficiently civilized to be given lands
and permitted to live in homes of their own. Religious serv-
ices were continued in the chapels; but priests served instead
of the friars. In the century the Texas missions functioned,
many devoted churchmen dedicated their lives to the Indians;
of the various subjects taught them, music was, throughout the
period, one which received most attention. In the records of
these institutions we find references to Indians who became
especially proficient in some branch of music; these were fre-
quently sent to other missions to serve as instructors of their
red brethern. Some few Gregorian tunes used in those days
are still known to descendants of those Indians. But long be-
fore the missions were secularized, other people had come to
carry forward the use and perpetuation of Spanish music
of another type*
(13)
CHAPTER III
Spanish~Mexican Folk Music
AT the time the missions were founded, the Spanish govern-
ment sent small detachments of troops to establish garri-
sons or forts nearby as a protection against encroaching for-
eigners and hostile Indians. It was not long before some of these
men brought their families and perhaps friends to live neai
them; in that way settlements were made in Texas near the mis-
sions long before such were officially recognized. Not until the
Spaniards were alarmed over reports that the French were about
to occupy Texas did the government send colonists to make
permanent homes in the province. A few miles from the head
of the river to which Fray Margil had given the name of San
Antonio, settlers from the Canary Islands laid out in 1731 a
town which they called San Antonio de Bexar. As soon as
houses were built, these people, who were all Catholics, set
about the construction of a church. This became the cathedral
of" San Fernando, which still faces Main Plaza* During the
rule of Texas by Spain and Mexico, this church boasted neith-
er an organ nor a large choir. San Antonio was a poor, strug-
gling settlement. The only music heard in the church was
that furnished by a small group of boys, who were trained by
the parish priest. The services in the church of San Fernando
were as simple as in the mission chapels, which the citizens of-
ten attended.
As a distraction from the toil and hardships of pioneer life in
this Spanish city in Texas, music was the one art which could
serve, for books and pictures were scarce. The Spanish people
had been for centuries music-loving; they sang at their work, and
sang and danced as recreation in their leisure hours. The Is-
leiios, as the Canary Island settlers were called, brought with
them the songs and dances they had learned in their former
homes. Many of the songs of old Spain, some peculiar to the Ca-
nary Islands, and others of distinctly Indian origin from Mexico
were thus introduced during the eighteenth century by new set-
tlers who from time to time joined the struggling little colony
Spanish~Mexican Folk Music
at San Antonio. Among these were the songs of the chariot-
eer, for all supplies had to be brought overland from Mexico
either mule-back or by the painfully slow ox-cart; the songs
of the plowman, as his ox-drawn plow leisurely broke the vir-
gin soil; the songs of the wine-maker, whose vineyards stretch-
ed from the San Antonio to the San Pedro or from one bend
of the river to another, watered by the winding acequias; and
the songs of the women as they Aground their corn, Indian-
style, on the metate, or rocked their babies to sleep. From
LULLABY OF A SPANISH MOTHER
3
Se-no-ra Sant' An- - na
Why'gthe ba - by
cry - ing?
i^
Is it for an
That you" vebeen de-
ny
i
We'll go to the garden,
There we will pull two
Sefiora Sant' Ana,
I For qu^ llora el nifio?
For una manzana
Que se le ha perdido?
One for the Christ Child
And one for you.
Vamos a la huerta,
Cortaremos dos,
Una para el
Otra para vc-s.
FIG. 4
one or more of these same sources came the tunes of the street
venders those picturesque figures which early made their ap-
pearance in Texas and soon became very numerous, for every-
thing salable was peddled from house to house; merchandizing
on an infinitely small scale was a favorite occupation of both men
and women, and has continued so until the 20th century.
There were the venders of wood and water; these bore their
goods at first on their backs, later in two-wheeled carts or on
(15)
" ." Music in Texas
donkey-back. Water for. household consumption/ was. sold
to those who did not live directly along the stream; and wood
and charcoal packed on the patient burro are still familiar wares
in, the Mexican section of San Antonio, Later came the ven-
ders of tamales and masa; still later those of pastries and
~ CALL OF THE TAMALE VENDER
to- ma-ran fa- ma-les ca- - - -Iten-tes tor-f i-llas con chi - j e ?
Don'i qouwanHa-ma-les, M.hot. hof ones?Tor-l i - llos witbchi-| i
FIG. 5
sweets. From time to time all the knicknacks so dear to the
heart of women were harked from door to door or rather from
window to window, for much of the bargaining went on through
the grated windows, and only on rare occasions were the
venders invited to enter the patio of the house. Some of the In r
dian foods early known in the Spanish settlements in Texas
were the tortillas, the tamale, chile con came, and frijoles. This
can readily be understood as both corn and beans could gen-
erally be depended upon for a crop. The tamale vender with
his tortillas kept warm in the upper compartment of his char-
coal-heated tamale container was a familiar figure. Some-
times he carried two containers; in this case he had chile also
for sale. Each day about sunset his familiar call might be
heard as he passed leisurely through the narrow streets.
Every evening that the weather was at all propitious one
could depend upon hearing a steady stream of music on the
plaza.* On one side of the square were the stands at which
cooked food was dispensed; under the light of old Spanish
lanterns, on tables erected each evening of long boards placed
on saw-horses, suppers of tamales, tortillas and chile were
served to eager patrons. Nearby lolled a singer who strum-
med his guitar as an accompaniment, sometimes there was a
small group of singers, each playing some instrument. Here one
heard not the brief call of the vender, but the interminable
romance, some old ballad strung out to unbelievable length,
*Military Plaza first served; much later Alamo Plaza for a while;
now the stands are on the Market Square, near the grave of Ben
Milam.
(16)
Spanish~]!$exican Polk Musk:
frequently extended or colored by the imagination of the sing-
er. To the same tune many verses were monotonously chant-
ed* Around these tables gathered all social classes; all were
familiar with the tales of sixteenth-century Spain. Here
one heard of the strange happenings on St. John's Day so long
ago; of the soldier who returned from the war only^ to discov-
er the inconstancy of his lady; the story of Preste Juan of
the Indies; and many others. No doubt the prisoners in the
old calabozo which was located across the corner from the old
governor's palace, enjoyed the bits of song wafted to their ears
as much as those lodged in more spacious quarters. On the
other plaza, now known as Main, another practice kept music
alive in the midst of these settlers. As soon as the community
boasted a number of string players, a small orchestra was
formed. In pleasant weather these players dispensed music
on the plaza. Around the walk on the outside of the square
the elder people sat and chatted, while the younger prome-
naded, the girls in one direction, the youths in the opposite,
thus making possible frequent meetings and side glances, if
not a few words. For the Spanish or Mexican girl was guard-
ed quite as carefully in Texas as in medieval Spain. After
the settlement boasted players of brass instruments, a band
played on the plaza and, later, on the Alameda a park extend-
ing back from the river about where East Commerce Street is
now. On Sunday in the summer, the leading families assembled
there in the late afternoons. Dancing was a common diver-
sion in the homes; at first the music was sung to a guitar ac-
companiment; later the violin, harp, and flute lent their aid.
Until the twentieth century these Mexican orchestras contin-
ued in demand for dances among the whole population; they
still exist in the Mexican group.
Some of the customs in connection with the celebration of
Christmas kept Spanish tunes alive in Texas. One of these
was the posadas, given usually on any of the nine nights pre-
ceding Christmas and culminating in the Nacimiento on Christ-
mas Eve; another was the pastores, a slight dramatic perform-
ance given on various evenings before Christmas and often
as late as Epiphany or Twelfth Night. For the posadas, a
form of entertaining a small group of friends by commemorat-
ing the struggle of Mary to find lodgings as the time approached
(1-7)
Music in Texas
for the birth of her baby, the inside of a room or a patio was
converted into the semblance of a wood by the use of boughs
of cedar or other foliage. Candles or crude paper lanterns
were suspended in various places. First, everyone present
knelt and sang a hymn, usually the Litany of the Virgin; then
all formed a procession at the head of which marched the tiny
children with their little candles; then came the young people,
also with candles; then the elders who were followed by a group
of children carrying on their shoulders the figures of the Blessed
Pilgrims, with the angels and the indispensable little mule, ar-
ranged on some kind of a background which suggested the
cold of a winter's night. After these came such players of
guitars and flutes as were available, while the family servants
brought up the rear. Sometimes the children bearing the fig-
ures led. After proceeding through the patio or several
rooms, the singers separated into groups, one of which return-
ed with the rest of the company to the inside of the decorated
room; the other remained with the children bearing the figures
on the outside. Then began the appeal for shelter:
W^^
* I n
De lar-ga- jor
na da Ren
di- -dos He
x:
YTasi lo implo- ra
Pa - - ra
des- can-sar.
From long and weary journey,
Forspent, alone and harried,
Here by your door we tarried,
But to beg that we may rest us here.
(18)
Spanish-Mexican Folk Music
To which those inside answered: -
Quie"n a nuestras puertas Who is it braves the darkness,
En noche inclemente The storm that rages coldly,
Se'acerca imprudente Who comes and calls so boldly,
Para molestar? And disturbs the hour of homely cheer?
After repeated appeals from outside, those inside made
known their intentions to admit the suppliants:
Entrad, pues !o!h esposos! Then enter, worthy Joseph
Castos e inocentes, And Mary, pure and hely,
Cultos y reverentes Our household which though lowly
Venid a aceptar. Will receive and shelter and revere.
Then rejoicing from the outside rose to its height:
Abranse las puertas, Now rend the veils that hide him,
R6mpanse los velos, Throw open all the portals
Que viene a posar ' ^or he is coming, mortals,
El Key de.los cielos. Lo, the King of Heav'n is drawing near.
With much commotion, they burst in and placed the figures
on a table* Then all knelt and said the prayer for the day,
ending with seven Ave Marias, each of which was concluded
by:
Oh
pe -:re-
.gra-ci.-.
- -ma 1 , Me
Lovely pilgrim coming from above
O Mary, bearing grace,
In my heart are walls and a roof of love
1 For your earthly dwelling-place.
. (19)
Music in Texas
After the song was finished, general merriment reigned and
refreshments of some kind were served,
On Christmas Eve the Nacimiento was given. This por-
trayed dramatically the happenings near Bethlehem* On an im-
provised stage were Joseph and Mary kneeling on each side of
the cradle; at the front or on each side were the ass and the
mule; and always present were the three Wise Men, the first
represented as a Spaniard, the second as an Indian, and the
third as a negro. Over the door hung an angel supporting
with her hands the emblem Gloria in excelsis deo; above shone
the sky, depicting a long comet, representing that which guid-
ed the steps of the three Wise Men to the birth place. Shep-
herds and shepherdesses entered and told their story of watch-
ing the stars and following to find at last the manger and the
Child. At the end, all joined in singing cradle songs and Christ-
mas carols.*
Closely connected with the Manger Scene of Christmas Eve
were the pastores slight dramatic productions of the same
events but emphasizing also the eternal struggle between good
and evil. In these little plays there was always a devil of some
description which delayed the journey, caused minor disasters
along the way, or prevented the couple from finding lodgings.
To those who did not sense beneath the surface of the plot,
this character represented only the comic element; it also gave
opportunity for amusing songs, often at most incongruous mo-
ments. In the pastorelas there were always many inconsis-
tencies either in the background, the garb of the characters, or
in minor details. A distinguishing feature, however, were the
songs, largely old Spanish words and melodies, kept alive
through repeated use with the children each year. These
performances, which were crude indeed in the early days of
the settlements in Texas, still continue in the Mexican sections
of the larger cities and in the border towns, the number of
performances often being determined by the need for the pro-
ceeds derived therefrom.
Other tunes were kept alive through children's games. One
of these is La Viudita, sung as a circle game. In the center
*One of the most beautiful is to be found in the Texas Centennial
Edition of the Music Hourfa xiv), published by Silver, Burdett & Co.
(20)
Spanish-Mexican Folk Music
J1
w
Yo [soy la viu di ta
Young countess and \vidow
condc Lau
I of Lau
rel
el.
y quie ,-ro . c a
And I would re
y no se con
But whom I can't
marry But whom I can't tell.
Pues siendo tan bella
no tienes con quien,
escoge a tu gusto,
aquf tienes den.
Escojo a Carmelo,
por ser la mas gentil
y pura azucena
de Mayo a Abril.
FIG. 7
Since, lady so- charming,
No husband you find,
Come choose from our hundreds
The one to your mind.
I choose, then, Carmelo,
As handsome and gay,
The fairest of flowers
Frcwn June until May.
of the ring is the viudita, who selects in turn her successor. In
one form or another, and set to various tunes, this game is
known throughout the Spanish world.
It is to be regretted that more of the secular music of the
Spanish and Mexican settlers of Texas has not been recorded*
The love of music and dancing was a part of their heritage
throughout the Southwest; in these regions the folk songs of
sixteenth and seventeenth-century Spain were long kept alive.
Descendants of both Spaniards and Indians were skilled both
in playing and in making guitars and flutes; particularly did
they excel in group playing of stringed instruments.
Interest in the music bequeathed to Texas by the Spaniards
is just beginning to awaken. The Spanish folk tales and folk
songs are now the subject of extensive research; the romances
or ballads are being collected and eagerly studied by special-
ists. With this newly aroused enthusiasm will come a
more general realization that the Spaniards were the pioneers
of music in Texas. They introduced European music through
the missions; they furnished the first music teacher, out in the
(21) .
Music in Texas
west where the Rio Grande was first forded by Europeans;
and long before music was brought westward from the Atlantic
coast, Texas knew the solemn chants and hymns of the Catho~
lie church as well as the folk music of Spain* While New
England was singing psalm tunes, rhythms reminiscent of the
Moors and melodies tinged with Mexican melancholy were a
part of the cultural heritage of the descendants of the Span-
ish and Mexican settlers in Texas.
CHRISTMAS CAROL
JWoebraff
|jV3 1 rl Ml
M. j i ' 1
n
[4-W- &j=d
- * i J. J
1 '''"u J ,'./ "
^=q^
^HJ-
r^ J
^j j
jd=^=
^ i j
f'lij
^^^
i j -L
i
^h
i
M J J T"[
Tj J
^ ^
Jubilo samente
V^n y adora amante
El divino infante
Peq.nen.ito Dios.
For <1 esta el cielo
Sembrado de estrellas,
Por ^1 son tan bellas
Las otoras de Dios.
Joyous, O most joyous
Come and bow before Hian,
Love Him and adore Htm,
Him tlhe infant God,
Him for wnom the heavens,
Starry-bright with wonder,
Shine above and under
Goodly works of God.
(22)
CHAPTER IV
Anglo-American Music
WHILE life moved on uneventfully in the few Spanish set-
tlements in Texas San Antonio, Goliad, Nacogdoches
and Salcedo on the Trinity were the only ones sufficiently
important in 1805 to be put on the map strange things were
happening in Europe. Many of the changes were due to Na-
poleon, who after arousing the admiration of all those who
dreamed of a republic and democracy, made himself the em-
peror of France. When most of western Europe had been
conquered, he decided to add Spain to his realm, and very
soon his troops were invading that peninsula* \Vhile the peo-
ple there were busy fighting the French soldiers, the Spanish
colonists in the New World found it a propitious moment to
follow the example of the United States and become indepen-
dent. As a result, when Mexico accomplished this, Texas
found herself no longer a Spanish province, but a part of a
Mexican state. Those in charge of the government in Mexico
City, the capital, found that is was not so easy to govern a
people who had never before known much freedom. Among
the acts of the new government that Mexico bitterly regret-
ted later was the privilege granted to a few people from the
United States to make settlements of Anglo-Americans in Tex-
as. For, as soon as this permission was granted, English-
speaking people from the United States began to pour over the
border. Between 1822 and 1836 they opened roads, built
towns, and slowly drove the Indians back. Although they
promised when they came to use the Spanish language and
to be good Catholics, they did neither very long. They were
not accustomed to the slow, tedious way of doing business
that the Spaniards had taught the Mexicans; and they were
soon determined to manage their affairs more quickly and in
their own way.
The Anglo-Americans who settled in Texas held conflict-
ing views in regard to music; these varied somewhat accord-
ing to the social class. Some of the colonists were people of
wealth, for whom playing and singing were common forms
Music in Texas
of diversion. Such a man was Colonel Jared Groce, who ar-
rived with fifty or more wagons; in some of these the women
and children travelled; in others came the furniture, spinning
wheels and looms, and provisions for many months. On horse-
back were the men driving other horses, mules, cows, sheep,
and hogs. Such people built large, comfortable homes and
cleared extensive tracts of land; they became the leaders in
industry and government. Among the other things they
brought into Texas were musical instruments; and usually
among their slaves were some accustomed to furnish music for
dancing and other forms of entertainment.
It was as a rule the poor settler that regarded music as the
work of the devil. Men of this class had little equipment,
little education, and few home diversions. Their only contact
with music had been through the church; and even there it
was not regarded very favorably. Dancing was an unforgivable
sin. While some of the more prosperous class shared these
views, it was almost uniformly true that the "poor white" was
antagonistic to music except that suggestive of psalm tunes.
But however the two social classes differed in their views re-
garding music and dancing, they were as one in their attitude
toward the Mexican government; they were ambitious, ener-
getic, active and determined in their opposition to the whole
Spanish system.
In the clash of the Anglo-Americans and the Mexicans
groups differing in language, laws and customs, and religion
the natural result was that as the Anglo-Americans became
more numerous than the Spanish-speaking settlers, the newcom-
ers became the rulers. The Mexican government sent an
army into Texas to enforce the laws; but it was useless. On
March 2, 1836, the Texans declared their independence from
Mexico. After the battle of the Alamo one of the old mis-
sions, San Antonio de Valero, converted into a fortress at
which nearly every American was killed on March 6, 1836,
and the massacre at Goliad, the Texans were thoroughly
aroused. Sam Houston hastily raised an army on the Brazos,
met the Mexicans on April 21 at San Jacinto and defeated
them completely, taking the Mexican president, Santa Anna,
prisoner. At that battle the musicians played "Yankee
Doodle'* and "Will you come to the Bower," a song written
(24)
Anglo-American Music
WILL YOU COME TO THE BOWER?
There, under the bower, on roses you'll rest,
While a smile lights the eyes of the girl I love best.
1 Will you, will you, will you, will yo-u,
Smile, my beloved?
But the roses so fair will not rival your cheek
Nor the dew be so sweet as the vows we shall speak.
Will you, will you, will you, will yc-u,
Speak, my beloved? ,
We'll swear mid the roses we never shall part
Thou fairest of roses, thou queen of my heart.
Will you, will you, will you, will you,
Won't you, my love?
FIG. 8
by Thomas Moore, but which soon became known in Texas
both as "The Invitation" and "The San Jacinto Quickstep/'
THE INVITATION*
Will you come to the battlefield we've chosen for you?
Your reception shall be bloody your runaways but few.
Come, come, oh come, we dare you to the battle.
Ye Mexicans so brave Santa Anna at your head,
Jacinto's fields, perchance, again shall fatten with your dead.
Then come with all your prison hoard of wretches on our borders,
We'll teach them how to march, in quick time, without orders.
When next your President we catch, a-hiding in our bushes,
Well give him, what he should have had, sans pity, sans excuse^.
You have blustered long enough with your talk about invasion,
You had better come in earnest now upon the first occasion.
We'll meet you, and well greet you, with sound of pipe and drum
Will you come to the battle will you come will you come?
Sung lo the tune of Will You Come to the Bower, thecberge at San Jacinto.
and was shortly proclaimed the "national song of the Republic
of Texas/* The only instruments they had were drums, fifes,
*Frorn the San Luis Advocate Jan 29, 1841. Printed on Galveston
Island by the first printer in Texas, Samuel Bangs.
(25)
Music in Texas;
clarions or bugles, and cymbals, but they played right lustily
as the troops went into action. Among these musicians were
Thomas Wesson, John N. Beebe and Peter Allen; one of the
flfers is said to have been Frederick Limsky, a Czech; and
George Broom was a drummer. Some of these musi-
cians were later rewarded by the republic of Texas with lands
and a pension for their good work on that spring morning,
The success of the battle gave rise to quite a flood of patriotic
music; seven more or less original poems appeared in the lone
newspaper of the period, The Texas Telegraph. Two of these
"Texians to your Banner Fly" and 'Texians Brave" were
set to the tune of "Scots what hae with Wallace Bled;" two
others, "The Texian War Cry" and "Hymn ^pf the Alamo"
were sung to the melody of the Marseillaise; "The Battle of
San Jacinto" employed the tune of Yankee Doodle for the main
stanzas and "The Hunters of Kentucky" for the chorus; while
the "Song of the Texian Prisoner in Mexico" utilized the mel-
ody of "Days of Absence." Another song popular at that
era, the words of which appeared in the press, was "The Banks
of the Blue Moselle" (Fig. 10)^
By the time Texas became an independent nation, many
musical instruments and
NEW GOODS. The subscriber has
just landed from New-Orleans, with an
assortment of Goods for this market,
of which the following is a part:
HARDWARE AND CUTLERY. Corn
Mills; coffee do.; cross-cut, pit and
hand-saws ; hoes ; trace and ox chains ;
cast steel axes; fro-es; foot adzes;
Ratchets; chisels; augurs; gimblets;
drawing knives; bolts; hinges; screws;
butcher, dirk, pocket and pen knives;
knives and forks; razors and strops *
G-eirman Harps; spurs; brass candle-
sticks; snuffers; brass stirrups; plat-
ed do.; violin strings; rifle flints, etc.
R. J. MOSBLEY.
March 12. 4tf.
German harps for sale by R. J.
Moseley /at San Felipe de Austin. This
is the first mention of a musical in-
strument in the Texas press. It ap-
pears in The Mexican Citizen* one
of the earliest newspapers printed in
Texas (1831).
FIG. &
(26)
instruments
music books had been
brought into Texas by
Anglo-American settlers,
some few of whom were
musicians* Among the
pioneer music teachers of
the period were two
young women, Mrs,
Wightman, the wife of a
surveyor at Matagorda,
and Miss Frances Trask,
a member of a prominent
Boston family. The hon-
or of being the first wo-
man composer among the
Anglo- Americans in Tex-
as probably falls to Mary
Holley, a cousin of Steph-
en R Austin; she wrote.
THE BANKS OF THE BLUE MOSELLE
G. H. B. Rodwell
1. When the glow - - worm gilds the el - finflow'r That clmgsround the rutn'd.shrin*, Where
2. If the cares of life shouldshade thybrow, Yes, yes, in our native bow'rs My
^e
*f MCf ^
first we met, wherefirst we lov'd. And I con - fess'd me thine; Tls
lute andheart may best ac-cord. To tell of hap- pier hours; Yes.
LJ LJ
i rj- LJ f^a ^"i
there I'll fly to meet thee still. At sound of V - per bell. In ih
there m soothe thy griefs to rest. Each sigh of r - row quell, In the
r * i
p ia
JL^_| |. I \ '.^' j J ^ . ^1 r^^*) ! | ^. ^|
star - ry light of a sum - mermght In the star . ry light of a sum - mer night.On the
d' p J ' ' *--
banks of the blue
Mo -
scfte,
On the banks of the blue M"o-selle, In the
se
=4f=
N
t
N
^
^
lj y 1 , |f" h ,^ _ =j
'-J
_,
a
THE BANKS OF THE BLUE MOSELLE
G. H. B. Rodwell
a ~-~-
1. When the glSS r "f
2. If the cares
worm gilds the el
of life should shade
finflo^'r
thy brow,
That clings round theruin'dshrine,
Yes, yei, in our native bowr'rs
Where
My
! J T J j I 1 T J '
* 7 7 9
i 4
J_ ' J LJ J. J
_^yJ
=g=E
^ f MLJ
first we met, where first we lov'd. And I con - fess'd me thine; TJs
lute and heart may best ac-Cord, To tell of hap - pier hour*; Yes,
there I'll fly to meet thee still. At sound of Ves - per bell. In the
there I'M soothe thy griefe to rest. Each sigh of *jr - rt>w qudU. In the
star - ry light of a sum
ight In the star . ry light, of a sum - tnernight,On the
JTT3
n~n
xrn
r * 1 1
^^
banks of ihe blue Mo - sefle,, ........... On the banks of the blue
m
1 14 * TQJ_J r LJTf
s
J r I
star - ry light of a sum - mcrmght.On thcbanksof the blue Mo-scUc.
f * II
| J r h
Anglo-American Music
while visiting In the province, that she had composed a boat-
song on the Brazos in 1831, and tells entertainingly in her let-
ters of young Zavala, who
sang and played the piano
and the guitar, while oth-
er Mexicans and Ameri-
cans sang and played the
flute, guitar, violin, and
accordion* As with the
Spanish settlers, among
the Anglo-Americans
dancing was a favorite
form of recreation. Often
negroes were the fiddlers;
but a Mr. Choate is re-
membered as one of the
early settlers who fiddled
for dances. When Sam
Houston became presi-
dent, a grand ball was held
in Houston, at which all
the best fiddlers avail-
able were assembled to furnish the music. Soon, according
to the newspapers, there was a piano and flute teacher in Hous-
ton; music stools and a Spanish guitar were for sale; and a
piano was auctioned off.
With the establishment of the capital of the new republic
at Houston, that city became at once a center of social life.
By 1838 a theater was opened there, for which a company
of no mean ability was brought from the United States. The
leader of the "full and efficient" orchestra, as well as its mem-
bers, gave music lessons during the day, and, when not busy
at the theater, played for dances at the hotels and in private
homes. One of the favorite actresses, Madame Thielemann
(Louise Ehlers, who prior to her marriage had been engaged
at the royal theater in Cassel, Germany, and had played in
New York, St. Louis, and New Orleans) was a popular sing-
er, who delighted her audiences with such songs as "Does
your Mother Know you're Out/* "Come Dwell with Me/'
(27)
MUSIC.
The subscriber takes leave to inform
the public generally, that from the
first of February next he will teach
Music in its various branches. Also
the German and French languages, at
his house, opposite to Mr. Cooke's
store. F. LEMKY.
Houston, Jan. 24, 1838.
INSTRUCTION ON THE FLUTE.
Air. Sames, (late of the principal
northern theatres,) now member of the
Houston theatre, begs respectfully to
acquaint the citizens, that he proposes
devoting a few hours in the day to giv-
ing instruction in the above deligftit-
ful accompaniment, on the most ap-
proved principles fei-nd on the most lib-
eral terms. Any commands left at Mr.
King's, Star Coffee House, will be at-
tended to. [Jan. SO, 1839]
Two notices of music teachers from
the Texas Telegraph, published in
Houston.
FIG. 11
Music in Texas
*Xove was once a Little Boy/' and the popular romance from
Fra Diavolo "On Yonder Rock Reclining" (seepage 102). On.
January 9, 1839, there was presented a "new national Texas
hymn called the Texas Star" written by Mr, Corri, the manager
of the theater.
THE FIRST CONCERT HALL IN TEXAS THE 'CAPITOL OF THE
REPUBLIC OF TEXAS, HOUSTON 1837.
FIG. 12
Concerts early became popular among the Anglo-Americans
in Texas. The first capitol in Houston was used as a con-
cert hall before it served
Mrs. Debar commences her con-
certs at the Capitol on Wednesday
Evening next, assisted by Mr. Debar,
Archer and an Amateur. From the
bills we have no doubt that the public
will be delightfully entertained.
Announcement of first public con-
certs in Houston. From the Morning:
Star May 28, 1839.
FIG. 13
its original purpose, and
was used for concerts dur-
ing many years. One of
the pioneers in the long
list of singers, varying in
type from negro minstrels
to European exiles, who
introduced the best of
foreign music was Mrs. De Bar, some of whose programs are
published in the local press of the day. Local singing organiza-
tions also gave concerts.
The attitude toward and the contribution to music of the
(28)
Anglo-American Music
Anglo- American church in Texas was both positive and nega-
tive. In 1838 a -month- There will be preaching in the
ly
concert prayer
meeting" was held in the
capitol in Houston. There
was also a sacred music
. , t. i i i .
society which rehearsed m
the capitol; later, after the
seat of government had
There will be
Senate Chamber next Sabbath, at the
usual hours. Sunday School at nine
' clock '
Tne Montnl y Concert Missionary
Prayer Meeting, will be held at the
same place nest Monday evening.
Service to commence at seven o'clock.
_ _ F1G - t4 _
been transferred, a similar organization was formed in Aus-
tin. Not until 1848 was a good church organ brought to
Texas; that was shipped from New Orleans by order of
Bishop Odin and installed in the Catholic church in Galveston,
at the cost of $2,000. But there were many ministers and
church members who bitterly opposed any form of music, and
their influence prevented the encouragement of the art in va-
rious communities. The conference which selected the Method-
ist missionaries for Texas passed a resolution in 1838 that
"The introduction of instrumental music and the conducting
of music in our churches by choirs is injurious to the spirit-
uality of singing and is inconsistent with the directions of our
Disciples/' And in 1840 a Methodist preacher was complain-
ing that the prospects for a good revival in Austin had been
destroyed by a dancing school. Such an attitude did not favor
the promotion of music in either religious or secular life. As
a result we find such doggerel hymns as that sung by a pious
old lady down on Caney Creek:
WINDHAM. L. M. *"
1. BrodU lhrodthatledi to death, AJU! thousands wIk to- Etto.tr there; But wtodomshow* E aar-nr p*ti, TTltlt hroe md tlu>re trt-d - lar
, The fctt-MiouIthtttirwMdfmlatt.AUwtDuthftirvior Ood nouqre. I bot wrteem'd. l-ort a ulnt.
4. Lot^let not I1 ny hope, to Tain: Ore- * wy heart ca- tfr.-lyneir:HUIcoh7-po-erUocoulJno' at-Uifl. WHeU &L* ji -,,OiUtta ne-W knw.
The original form in which this tune appeared in singing schoo-1
texts.
(29)
Music in Texas
WINDHAM
As sung on Caney Creek
T 1 T'll A. *
HI
when I die I'll go to rest, And live among the
Met!
dists.
The devil hates the Methodists
Because they sing and shout the best,
And when I die 111 go to rest,
And live among the Methodists.
FIG. 16
Out of the attitude that tolerated music only as an adjunct
of the church grew two institutions which have survived in
Texas life. The first of these was the singing school, that
product of New England religious zeaL Instituted by reli-
gious leaders solely for the purpose of training adults to fur-
nish music for the services of the church, the singing school by
the beginning of the nineteenth century had so gained public
favor that it was in some cases supported by local funds; its
subject matter slowly and imperceptibly shifted from religious
to secular music; its membership from the old to the young,
both male and female; and the teachers were individuals who
depended upon the fees for a livelihood. Its popularity spread
westward with the moving frontier; it had reached the Mis-
sissippi early in the nineteenth century. Scarcely had the
Anglo-Americans established themselves in the northeastern
regions of Texas before the singing school had come, not in
(30)
Anglo-American Music
its most advanced stage, but in the primitive form that early
New England had known it. It has survived almost a cen-
tury.
As an outgrowth of the singing school in the various local-
ities came the singing convention, a gathering of local sing-
ing societies in competitive meets at some convenient point*
The Eastern Texas Vocal Musical Convention met in 1858
"on the Thursday before the third Sabbath in October, * . at
the Christian Church on the Saline Road, six miles west of
Camden in Rusk Co./' the Galveston News announced, copy-
ing from the Henderson Beacon. In these conventions, still
common in many parts of the state, the religious element has
always been predominant; in the early days it prevailed ex-
clusively; and only with many misgivings are secular songs
permitted to invade the sacred precincts of a singing conven-
tion still. The leader with a thunderous voice has been a typi-
cal factor; the singing-books still carry the shaped notes a
profitable commercial line, especially in East Texas; and the
groups of eager if unlearned singers are at no pains to con-
ceal the fact that the social aspect of the meeting is a strong
drawing card. For the singing convention was no trifling af-
fair; it lasted, in some cases, two or three days; and brought
together members of widely scattered communities. There
were always "good eats'' picnic fashion; sometimes a barbe-
cue gave added zest to the appetite; usually each family brought
food enough for three, and all was spread in community style.
The books used might serve as an index to the westward ad-
vance of the publishing business; at first those used were print-
ed in New England; then Philadelphia publications served;
Cincinnati and New Orleans claimed the market after the
middle of the century; now Arkansas and Texas promoters of
musical progress turn the profits to their own pockets* On
the shelves of many northeast Texas homes are to be found
copies of the various volumes issued by Lowell Mason; while
a late acquisition to the series is one .Roses of Spring, is-
sued as the mid-season offering of 1935, for new books each
season contribute to the financial returns of the publishers.
The camp-meeting of the whites, first held in Texas in 1833,
might in its later days be considered in some respects a projec-
tion of the singing convention. While the religious element was
entirely predominant, so long as the institution survived music
(31)
Music in Texas
played an important part.* Here the whole family came in a
wagon; under the large tent, straw was spread thickly over the
ground, and to its shelter slipped the babies, the children, and
the adults when overcome by sleep. The camp-meeting songs
were impregnated with the enthusiasm and religious zeal of
the conductors; most of them sank deep in the hearts of those
who heard and sang them. The railroad and the automobile
have sounded the death-knell of the camp-meeting, except
among the negroes; but some of the songs still live, as the
collection made by Dean Meyer of Southwestern University
attests.
Military music received some attention even in the early
days. When the Santa Fe expedition was organized, John
Doran went as sergeant major, and A* Pisarenski, Daniel B.
Smith, and C. C. Willis were enlisted as musicians. It was
the unhappy fate of the survivors of this expedition which
gave rise to the song "The Santa Fe Prisoners/' whose two
stanzas were sung with zest to the tune of "Columbia, Land
of Liberty/*
Americans, protect your blood,
From slavery's soul-galling chain,
Shall brothers of fair freedom's sod,
Linger still in captive's pain?
Shall foreign dungeons still confine,
The hearts that bled for freedom here?
No, cross the mongrel Spaniard's line,
And by the blood of freedom swear
To rescue from captivity,
The prisoners of Santa Fe.
Oh, sb,all it e'er be said that we,
Who hear their groans across the waves,
Still suffered them to bow the knee,
To toil like brutes, and pine like slaves?
Up, up, and strike the vengeful blow,
And for their liberation call,
Or raze the lofty towers low,
And crush the tyrants in their fall,
And tear from vile captivity,
The prisoners of Santa Fe.
*Some typical songs of the Texas camp-meeting collected by Dean
Henry E. Meyer are available in the publications of the Texas Folk
Lore Society, X (1932).
(32)
Anglo-American Music
Meanwhile at Perote the Texans were solacing the slow
hours by singing "A Soldier's Tear/' "Will you come to the
Bower/* and "Long, long ago/'
It was the treatment accorded these prisoners in Mexico
as well as the boundary problem which arose with annexation
that hastened the Mexican War. But before hostilities had be-
gun, another factor in musical life had come upon the scene the
German settlers who were to play an important role in the
cultivation of music in the next half century in Texas,
CHAPTER V
T/ie Early German Contribution
I;T would be hard to estimate the value of the German efforts
to create and develop in Texas a love of good music. Musical
people in their homeland and trained in the theory and practice
of the "art as were many of the leading emigrants', it was only
natural that they should promote music in their new homes in
the Southwest. Especially in Texas, where their largest settle-
ments were rapidly made from 1845 on, was their influence
strongly felt.
Of the Germans who entered the Republic before 1840, his-
tory records some evidences of a love of music. As early as
1834, when the Kleberg family arrived, they brought with them
a good piano, which unfortunately perished in the burning of
Harrisburg by Santa Anna. Mrs. Holley, a cousin of Stephen
F. Austin, in writing from Galveston in 1837 of conditions^ in
Texas commented on the Germans who "sang in concert/'
After 1845 the number of Germans increased rapidly.
Groups settled in Austin, La Grange, San Antonio, New
Braunfels and Fredericksburg. Among those who came were
trained musicians and instrument makers* In spite of the dif-
ficulties of pioneer life which beset them Indians, lack of food,
inadequate shelter, poor means of communication these peo-
ple bravely determined to wrest more than a mere existence
from the wilds of Texas. In New Braunfels especially was the
German spirit kept alive in song, and there in 1850 was formed
the first German singing society in Texas. Soon other similar
groups were organized in the neighboring German settlements.
It was through the efforts of these groups, composed of men
who met weekly for the practice of unaccompanied choral
singing, that many of the works of the masters of music were
first produced in Texas. From the individual groups, there
was formed the Texas Saengerbund, or Singers' Union,
which gave its first program at New Braunfels on October 15,
1853 the first saengerfest in the Southwest. Delegations from
Sisterdale, Austin, and San Antonio attended. This saen-
gerbund has continued to flourish until the present day
The Early German Contribution
with but two interruptions the Civil War and the World
War and has done much to stimulate the efforts which resulted
in the solid foundation of musical culture which is a charac-
teristic of the German element in Texas today.
Of the many educated Germans who immigrated to Texas,
Adolf buchs has a special interest for the history of music.
A Lutheran pastor in Mecklenburg, he became interested in
Texas through the account of travellers through the region,
and decided to migrate there with a group organized for this
purpose. At their departure for the New W^rld, Hoffmann
von Fallersleben, the famous poet, wrote a song honoring the
occasion.
On to Texas, on to Texas,
Where the Lone Star in its glory,
Prophecies a world of freedom,
Beckons to each heart resounding
To the call for truth and justice
There alone my heart would be.
This German poet who never saw Texas, wrote thirty other
poems about life in Texas, copies of which Fuchs either brought
with him or received lat-
e, . ,1 ^ ^i- Texanische Lieder. Aus mundlicher
er. Strange to say the title und whrlftllcher M itteilung deutscher
page gives the place of Texaner, mit sing weisen. San Felipe
imprint as "San Felipe de de Austin bei Adolf Fuchs & Co.
Austin" and the publish- FlG ' 17
er as "Adolf Fuchs and Company" clearly a disguise for the
benefit of the censor. Many of these poems Fuchs adapted
to German folk-tunes; for others he composed the music.
Fallersleben also wrote an opera, "In the Two Worlds/' based
on life in Texas*
After settling in the Brazos region, Adolf Fuchs taught for
some years at the oldest girls' school now existing in Texas,
Baylor College, established at that time at Independence. But
he felt a longing for the hills, the broken country, and soon this
master of five languages moved west to the Colorado River
and settled in what is today Burnet County. Though he bus-
ied himself with farming and ranching problems, music never
lost its interest. Until his death in 1885 he continued to com-
pose; a manuscript volume preserved by the family is evidence
(35)
Music in Texas
of his creative bent. In this are songs of which he wrote both
the words and the music and musical settings of poems by Fall-
ersleben, Goethe, Uhland, and Wieland. While the volume
A GERMAN FOLKSONG
Ach, so
HaVmich all-well ver- trb-stet auf die
Lie -ber Vo-gel, fHg* wei-tei; nimmeirfn
Si
iMi I F';l
im Schn*4>l, von der
nie - der atrfxueirfn foM, &t ein Brief-chen im
fremdbin ich hien nnd es fragthier kein
som-mer-li-che Zell, and der '-*
Oruas mit uad elrin 8o. Ach,ich
a 5 ? . _| ? i
_jL vonrfer Mut-ter eirfn OTOSB.
der, kel-ne Sdkwtster nch mir.
men, and ten bin noch so weft.
"-- hierblei-ben muss.
e
iM
Tl
FIG. is
To this melody (Figure 18) Fuchs adapted his translation of Fal-
lersleben's poem "The German Backwoodsman/'*
A rifle for hunting,
For defense or for fight,
A yoke of oxen for ploughing,
That is my delight.
My farm is enclosed,
My crop is laid by,
My log house is ready;
I laugh, I know why.
I sit on my pony,
Before me my gun,
Thus gaily through woods and
Through prairie I run.
A turkey I kill now,
A buck and a doe,
In lakes and in rivers
My line do I throw
I get bread from my cornfield
And meat from my sow,
From the spring I get water,
And milk from my cow
I go .hunting and chopping
Not fearing the dawn.
No keeper forbids me
The grape and pecan.
Nobody does trouble
My sheep and my geese,
They can feed about here
As much as they please.
Sometimes with the birds to
Sing songs I do chance,
Sometimes with the humbirds
The Fandango dance.
In the woods I feel bappy
With *ny child and my wife,
But freedom is blessing
But freedom is life.
*Used by permission of the Adolf Fuchs Memorial Associntiom.
(36)
TTie Early German Contribution
possesses more historical than musical interest, it is ample evi-
dence of the existence in Texas of a cultured man* He encour-
aged his children and his neighbors to sing; in his later years
he held family reunions at which his own songs, in addition to
those of the best German composers, were sung. Among his
descendants are many who are musical; the best known is a
grandson, Oscar Fox, who first achieved fame for his settings
of Texas cowboy congs.
There were many German songs written in Texas before the
Civil War; of these only the words have, in some cases, sur-
vived. The first was that composed by Count Solms-Braun-
fels on the occasion of the founding of New Braunfels (1845).
It is said the verses were set to music by Alexis Bauer; others
claim they were sung to a German folk- tune.* There is a
Festlied written by Petmecky, the director of the Men's Sing-
ing Society "Liedextafel," organized in 1855, which begins
"Texas hoch/' Then we know of a Maennergesang by Adolf
Douai, editor for a time of the Frei Presse fur Texas, printed
at San Antonio. There is an Alamo Hymn by C. Wilke, of
which the words have been published; the music may still exist
in the archives of the singing societies of New Braunfels.
Five years to a day after the opening of the first saengerfest in
the Southwest (Oct. 15, 1858), there was born in Fredericks-
burg, then a frontier outpost, of a German mother and a Flemish
father, a child who was destined to hold first rank among
American musicians, Franz van der Stucken, His talent for
music showed itself early and at the age of eight he was taken
to Antwerp for a musical education, and enrolled as a pupil of
Peter Benoit, While still a student there his compositions
were played in the churches and a ballet by him was produced
at the Royal Theater. In 1881 he became director of the Bres-
lau City Theater, and, two years later, through the assistance
of Liszt, he gave concerts of his own compositions at Weimar.
In 1884 he was engaged to succeed Dr. Leopold Damrosch,
who was director of the Arion Singing Society of New York*
Very soon he became active as an orchestral director, conduct-
ing the Novelty Concerts of 1884 and 1885, the Symphony
Concerts of 1886 and 1887, and the American Concerts of
*See Metzentliiii-Raunick, S., Deutsche Schriften in Texas (1935)
(37)
Music in Texas
the two following years. In 1895 he became director of the
Cincinnati Conservatory and the Symphony Orchestra. He
conducted the May musi-
cal festivals there from
1906 to 1912 and again
in 1923-25 and in 1927.
in 1920 he directed the
Wagner and Gluck revi-
vals in Antwerp. His
death occurred at Ham-
burg on August 16, 1929.
This Texas-born musi-
cian was among the first
to recognize the genuine
worth of American music.
Not only did he try to fos-
ter it in the United States;
he was the first conductor
to tour Europe with an
American group of sing-
ers presenting American
songs. He encouraged
young composers, and
predicted the recognition
which has since come, in
some degree, to music
created on this side of the Atlantic. Himself a prolific
composer, he also devoted much time to orchestral and choral
arrangements, one of the most extensive being his adaptation
of the Bach Passion Music for presentation at one of the Cin-
cinnati festivals. In this field his work is marked by the same
depth and seriousness so evident in the other branches of crea-
tive art. In his later years he visited Texas and found both
the state and Fredericksburg proud to claim him as a native
son. During his seventy years of life he was showered with
honors in recognition of the value of his contribution to the
world of music. His name must, so far, head the list of the
illustrious Germans born in the Southwest who have forged
their way to the front rank in music.
In many lines of musical endeavor the Germans early became
(38)
FRANZ VAN DER STUCKEN
FIG. 19
The Early German Contribution
Maurice Thompson
ft
At the Window
Frank van der Stucken
d=
^
^
Con moto
I heard tie -wood - pec-ker tap - ping:,
&=
i
The blue - bird tea , der-ly sing-;
turned and look'd out of my win - dow,
i
P
it was spring-!
r
(39)
Music in Texas
breath from trap - i - cal bor - ders
J* 1
-1-^ltBTl
J ^ J
f Jow'd in -
to my room,
l-^*^-^r-r^
And
-,
washe
d
^
my
^
face clean of its
ii
1=
S=
*
ii
^d
^
~_
V
^
From The Progressive Music Series. Used by permission of Silver
Burdett & Co.
FIG. 20
(40)
The Early German Contribution
leaders. In Houston, Galveston, San Antonio and in the
smaller places bands were formed of Germans and directed by
Germans. Concerts by local and foreign talent were fostered;
outstanding among the visiting groups were those of the Ger-
man and Hungarian exiles driven from their homes by politi-
cal conditions. Largely through German insistence, music was
introduced into the first public schools established in the state
those in Galveston, in 1845; and early in the fifties a music
teacher was employed by the public schools of San Antonio.
Other communities in which the Germans were strong followed
the example of these cities; even before the Civil War a good
beginning had been made toward the musical education of the
younger German generation. In the private schools in all parts
of the state Germans quickly secured positions as music teach-
ers and contributed largely to the musical education of the girls.
Among the early teachers was one who figured also as a com-
poser Gustave Fitze, whose compositions were published by
Oliver Ditson 6 Co. Among these were "I Know Not Why
I Love Thee" and the "Waverly" and "Starlight" schottisches.
Mr. Fitze taught in Galveston, at Waverly, in Walker
County, and at the Richmond Academy in Fort Bend County.
The commercial side of music was by no means neglected
by the Germans. In Galveston, Sachtleben's Emporium of
Music offered for sale all kinds of instruments and both do-
mestic and imported sheet music. Music halls, often combined
with turn-halls or dance-halls, were built to serve as meeting
places and concert halls for the singing groups, whose num-
bers grew with the years. These buildings were rented to
other organizations for various purposes.
The close relation of music and social life was particularly
noticeable among the Germans. As in Germany, the beer
gardens were the recreation centers to which the whole family
repaired on Sundays and holidays. There the beer was sipped
in leisurely fashion in a jovial atmosphere, while the band
played and the groups sang. The children had the opportunity
to hear music; the elders, an opportunity to create; and there can
be small doubt that music did much to foster the feeling of
good fellowship so characteristic of German neighborhoods.
A good foundation was being laid, but, alas, the foundation
(41)
Mrtsfc In Texas
was nearly destroyed by the inroads of the Civil War*
For almost ten years music had to give way to the sterner calls
of life. Many Germans fled to Mexico to escape serving in
the army; others were busy protecting the frontier and their
homes against Indians. As both food and clothing were
scarce, all efforts were turned toward satisfying these needs.
Not until after the dark days of reconstruction were the Ger-
mans again able to devote their leisure hours seriously to music.
(42)
BOOK II
ABSORPTION FROM A
WIDER FIELD
CHAPTER VI
The Music of the Mexican War
FROM the time that secret orders were delivered to Gen-
eral Taylor in 1845 to proceed to Texas and there place
his army in position for such action as circumstances might
render advisable, the eyes of the world were turned to the
Mexican border. Almost overnight the comparatively un-
settled regions along the Rio Grande became the scene of
feverish action. Troops and supply trains blazed trails
through vast uninhabited stretches, and established camps
in somnolent Mexican villages. Corpus Christi was the first of
these to feel the effects of the increased activity, but all the
settled portions of Texas were stirred by the arrival of large
groups of men from various parts of the United States. New-
contacts, cultural as well as military, were quickly established.
The martial spirit in the United States showed itself promptly
through musical channels; publishers from Boston to New-
Orleans rushed patriotic music from their presses; new pub-
lications were rapidly forwarded to the front; and Texas, now
for the first time the center of general interest, eagerly re-
ceived and broadcasted the new music.
Some of this had Texas for its background. "Uncle Sam
and Texas'* was sung to the tune of Yankee Doodle; "Texas
the Young Tree of Freedom/' to that of Harry Bluff; "The
Fair Land of Texas*' to When the Fair Land of Poland
while the "Flag of Texas", and "All for Texas" had original
music* The evolution of Texas was commemorated through
"The Alamo" by J. H. Hewitt; "Remember the Alamo" by T. A.
Durriage, which was set to the tune of Bruce' 's Address, as
was "The Texian General's Address to his Army" and "San
Jacinto"; and "The Song of the Texas Ranger" sung to the
tune of I'm Afloat.
As the war progressed, the various points in Mexico reached
by the victorious army were quickly made familiar through
songs and instrumental compositions. Corpus Christi and the
I'M AFLOAT! I'M AFLOAT!
ELIZA COOK HENRY RUSSEL
1'iu a- float! I'm a- float! on the fierce roll--iiitf tide, Tl>e o-cean "a my
'ILL 1 ~ L ' L L L ' L L ' L v^
r r r r r r r rrrrrrrr
home, ami my bark is my bride!
Up! up! -with my flag! let it
wave o'er the sea, Im a -float! I'm .-float! and the ro - ver is
I fear not the uiou-nrch. I fieetl not the law, IV
H coin-pa^ to
E
m
I
by, a <lag-ger to tlraw; And i
ueer as a eow-anl or slave will 'I
ayA_^_p_^_^=^jjp
m
(46)
kneel, UhHrf my guns jcur - ry shot, or my belt bears a steel!
U'.CK! trim her aitv, let lier sl.eets kUs the wind And I war-r*.ut we'll
T r h r r r i" ' 1* r r r r r r r
boon leave the sea
v '* r ' r -^
- gulls oe-himl; Up' up 1 with my
lag! let it
* * - * f
f T r lU'i i-^ 4
* * *
M ^ t E 'P
r r 'j j j'f 1- i- '
r h f '
wave o'er the sea! I'm a - float! I'tu a - floi
E > ' r i=f^
it! aid tl>e ro - ver is
I J ' -I I -< H
"**' sr **-*<- "y^v 1 ^
[ i i ] j. ^ ^ '
free! I'm a - float! I'm a - float! and the ro - ver i* free!
f 5
FIG. 21
This music was well known in Texas as "The Ranger's Song" with
the following text:
(47)
Music in Texas
Mount, mount, and away o'er the green pastures wide,
The sword is our scepter, the fleet steed our pride.
Up, up with our flag, let its bright star gleam out!
Mount, mount and away on the wild border scout
We care not for danger, we heed not the foe,
Where our brave steeds can bear us, right onward we go;
And never, as cowards, can we fly from the fight
While our belts hold a blade, our star sheds its bright light.
Then mount and away! give the fleet steed the rein,
The Ranger's at home on the prairie again;
Spur, spur in the chase, dash on to the fight,
Cry vengeance for Texas and God speed the right.
The might of the foe gathers thick in our way,
They hear our wild sho-ut as we rush to the fray;
What to us is the fear of the death-stricken plain,
We have "braved it before, and will brave it again."
The death-dealing bullets around us may fall,
They may strike, they fciay kill, but they cannot appal;
Through the red field of carnage rigflit onward well wade,
While our guns carry ball, and our hands wield the blade.
Hurrah, my brave boys! ye may fare as ye please,
No Mexican banner now floats in the breeze!
'Tis the flag of Columbia that waves o'er each height,
While on its proud folds our star sheds its light.
Then mount and away! give the fleet steed the rein,
The Ranger's at home on the prairie again;
Spur, spur in the chase, dash on to the fight,
Cry vengeance for Texas and God speed the right.
FIG. 22
Nueces had been abandoned in March, 1846, before publishers
had fully awakened to the opportunity; but by the time the
Rio Grande was reached by Taylor's force, composers were
adding fame both to individuals and places. "General Tay-
lor's Grand March" by Grobe; "General Taylor's Quickstep;"
"Rough and Ready" by F. A. Durivage; "Rough and Ready"
by Austin Phillips; "Zachary Taylor;" "Hurrah for Rough
and Ready," which begins "Strike for our Right" and is set
to the tune of Rose of Alabama, are but a few of the musical
compositions quickly made familiar in Texas.
The arrival of the troops at the Rio Grande was celebrated
in song and dance. "The Rio Grande;" "The Rio Bravo, a
Mexican Lament" by Austin Phillips; "The Fort Brown Quick-
step" by Getze; "The Point Isabel Chaunt"; "The Coast of
Mexico," sung to the tune of Lacy Neal; "We're the Boys for
(48)
The Music of the Mexican War
Mexico;" "Wave, Wave the Banner High/' sung to the mel-
ody of March to the Battle Field; "The American Bivouac
on the Banks of the Rio Grande;*' and "Capt. Walkers Quick-
step" by Grobe, honoring the leader of the Texas Rangers,
were among the many. "On to the Charge" by Hewitt and
a "Funeral March" by Mattias Kellar were written in memory
of Ringgold, who fell at Fort Brown; "Fire Away," set to the
tune The Campbells are Coming, was the song of Ringgold's
TE'SSIB CAMMIEJEJES ARE
9 Campbells arotomin', O ho, O ha. The Campbells are comin.% O ho, O hoi Tha
Campbells are comin' to botuiie Loch- le-ven, The Campbells are comia', O ho, O hoi
Hi
-> J. , J 1 SX ^ i>- i - ' -'.- y I f
IJp-oa theLomouds I lay, I lay, Up -on the Lomonds I lay, I 1^ I
EE
Jook-ed down to bon-nie Loch-le- ven, And heard the bon - nie pibrochs play.
artillerists. There was also a "Funeral March" dedicated to
Colonel Watson; and "Watson's Lament," with words by
W. K. Dean, was published in Baltimore.
The occupation in May of the first Mexican town beyond
the Rio Grande called forth a new wave of musical enthu-
siasm. "The Fall of Matamoros," "The Matamoros Grand
Triumphal March and Quickstep;" and the "Matamoros
Grand March" commemorated this event. "Palo Alto, or Our
Army on the Rio Grande," given in New Orleans in No-
vember, 1846; the "Palo Alto Grand March;" and "Palo Alto
and Resaca de la Palma" by Prevost the first music engrav-
ed on zinc in New Orleans; "Palo Alto," a song beginning
"Now while our cups are. flowing;" "Le Capt. May et le Gen-
eral de la Vega sur les bords du Rio Grande" a one-act comic
opera, the libretto by Felix de Coermont and music by Four-
mestroux; and "Here's a Health to Thee, May" are a few of
the vocal productions that marked the advance inland.
Buena Vista was the subject of six songs: "On Buena Vista's
Bloody Field" by Col. Henry Petrunken; "Buena Vista,"
(49)
Music in Texas
beginning "Near Buena Vista's Mountain Chain;" another by
the same title, beginning "From the Rio Grande's waters to
the icy lakes of Maine/' by Albert Pike; "The Dead at Buena
Vista/* words by Thos. G. Spear, on hearing of the fall of
Henry Clay, Jr., and sung to the tune of Burial of Sir John
Moore; "A Song of Buena Vista" by Alison Phillips; and
"The Battle of Buena Vista" with words by John G. Dunn*
Among the marches were "The Buena Vista Grand March;"
"Buena Vista," dedicated to Gen. Woll; and "General Tay-
lor's March at Buena Vista," by Reimer. An opera by that
title was composed by Prevost and performed in New Orleans
before May 24, 1847.
Most popular of subjects from September, 1846, for over
a year while the army was pushing forward from Vera Cruz
to the City of Mexico, was Monterey. "The storming of Mon-
terey" by F. Buck and "The Monterey Grand Waltz" were
among the instrumental compositions. Songs were more nu-
merous: "The Storming of Monterey," words by Gardenier;
"Monterey," dedicated to Gen. Taylor; "Monterey, a Nation-
al Song;" another "Monterey, a National Song" with words
by Watson and music by Austin Phillips; "The Fields of
Mexico or the American Maiden's Song to her Lover," which
begins "Wouldst thou have me leave thee, dearest"; "The
Field of Monterey" by Sullivan; "Monterey" by Bayard
Taylor, which begins "We were not many, we who stood";
and "The Soldier's Widow," which ends with the line "Than
he who fell at bloody Monterey." Especially famous was the
incident of the Mexican girl killed while extending aid to in-
jured United States soldiers; this called forth novels, poems,
and the songs "The Heroine of Monterey" and "The Maid
of Monterrey" by John H. Hewitt. This became one of the
most famous songs of the war; the tune was sung in Texas with
the original words for over half a century, and later adapted
to various other texts including that of the gospel hymn "I want
to be an Angel."
The storming and capture of Vera Cruz in March, 1847,
served as new inspiration for instrumental compositions, among
which were "The Fall of Vera Cruz" by Francis Buck; "The
Vera Cruz Quickstep" by E. Wathan; "The Vera Cruz Grand
(50)
THE MAID OF MONTEREY
f\ It
- By
TT~1 J" h r p-r f
Words and*Mueic
JOHN H. HEWITT
1 ! ; nH
g) Hrj 1 J. / J
i* 1 v ji
1. The moon was shin- ing bright - ly Up - on the bat - tie plain; The
2. She cast a look of an - guish On dy - ing and on dead, Her
3. She gave the thirst -y wa - ter, And dress'd the bleed -ing wound; And
4. For, tho' she loved her na - tion And prayed that it might live, Yet,
J J I J."
gen - tie breeze fann'd light - ly The fea - tures of the slain; The
lap she male the pil - low Of those who groan'd and bled. And
gen - tie prayers she ut - ter'd For those who sigh'd a - round. And
for the dy - ing foe - men She had a tear to give, Then,
guns bad hush'd their than
when the dy - ing sol
when the bu - gle sound
1 here's to that bright beau
der. The drum in si * lence lay; When
dier For one bright gleam did pray. He
ed Just at the break of day; We
ty Who drove death's pang a * way, The
rj ji
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The
maid
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And
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Se -
no
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- ta.
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Mon
- te -
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Then,
///I J J
guns had hush'd their thun - der. The drum in si - lence lay. When
when the dy - ing sol - dier For one bright gleam did pray, He
when the bu - gle sound - ed Just at the break of day. We
here's to that bright beau - ty Who drove death's pang a way. The
"Jr TT-ti
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came the Se - no -
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- rey.
ttese'd the Se - no -
ri - ta The
maid of
Mon - te
- rey.
meek- eyed Se - no -
ri - ta. The
maid of
Mon - te
- rey.
FIG. 24
(51)
Music in Texas
March" by Chadwick; and the "Grand Military Quadrille."
"Cerro Gordo Grand March and Quickstep by a Texan
Youth" is evidence that Texas was contributing.
The arrival of the army at the capital was also chronicled in
song. "The Men of Churubusco" was set to music from
Norma; and "Hurrah for the Halls of Montezuma" was sung
to the overworked melody of YanAree Doodle.
All of this music reached Texas in some form, and much of
it became a part of that passed down to succeeding genera-
tions. It was through this music that Texas was first brought
into close touch with the wider world of music; and through
the various songs and instrumental compositions linked with
Texas localities, events, and people, the outside world was in-
troduced to, and became familiar with, the new state.
FIRE AWAY!
The Song of Ringgold's Artillerists
Tune "The Campbells are Coming"
The Mexican bandits
Have crossed to our shore;
Our soil has been dyed
With our countrymen's gore.
The murderer's triumph,
Was theirs for a day
Our triumph is coming
So fire fire away!
Be steady be steady
And firm every hand--
Pour your shot like a storm
On the murderous band.
On their flanks, on their center,
Our batteries play
And we sweep them like chaff,
As we fire fire away!
*Tis over the thunders
Have died on the gale-
Of the wounded and vanquished
Hark! hark to the wail!
Long the foreign invader
Shall morn for the day,
When Ringgold was summoned
To fire fire away!
(52)
CHAPTER VII
Other Foreign Contributors
EVEN before the Anglo-Americans and Germans came into
Texas in large numbers, other nationalities had begun
to contribute in a lesser degree to musical life in Texas. During
the 18th century the eastern neighbor of the Texans had been
the French in Louisiana, and the contacts became much closer
after 1762 when Louisiana was ceded to Spain. From that
time until the territory was sold to the United States in 1803,
there was a constant intermingling of the two peoples both
socially and commercially an intermingling which left its im-
press upon various aspects of the culture of both especially
upon the music.
Any reference to the music of the French in the Southwest
brings in the term "creole," a word often misunderstsood. A
creole is a child of European parents born in America; the
pure-blooded descendants of French and Spanish settlers in
America are the real Creoles, although the term, by popular
usage, has been applied to the offspring of mixed marriages,
regardless of color. The latter element enters largely into the
general application of the term in Louisiana, for there the
negro population was large, through the contant influx from
the West Indies. Out of the mixture of French, Spanish and
negro life grew the music of today known as "creole." Which
blood was the greatest contributor has been disputed. "The
melancholy, quavering beauty and weirdness of the negro
chant are lightened by the French influence or subdued and
deepened by the Spanish," wrote Lafcadio Hearn. Krebhiel
admits that the basic rhythm of the negro was that of the
"Habanera," but he credits the Spaniards with having borrowed
it from the negroes.
Regardless of the origin of the rhythms and melodies, there
was in Louisiana a mass of folk music among the people. Since
the French were fond of dancing, many of the French folk and
and court dances of the 18th century were known in New
Orleans. The Acadians, those unfortunate peasants made
famous by Evangeline, are credited with having introduced
Music in Texas
many songs; of the people scattered along the Gulf Coast, the
small group settled near Port Arthur is of special interest to
Texas. These "cajuns" as they came to be called, in trying
to make new homes on the Texas coast had little in the way
of solace but their simple songs. They lived to themselves;
even after Texas was predominantly Anglo-American, des-
cendants of these people remained aloof, clung to their own
language and customs, and kept alive what semblances of cul-
ture their ancestors had known* Some of their songs are
still to be heard, in more or less corrupted forms, along the
Texas coast and in the "cajun" district extending into Lou-
isiana. One of these is "Va ingrate bergere."
It was during the period of Spanish occupancy that a most
important forward step in the cultivation of music was taken
in New Orleans, and its reflection was heard in Texas. In
1791, following an insurrection in Santo Domingo, an opera
company took refuge in New Orleans and was heartily re-
ceived by both the French and Spanish populace. To house
them an opera house was built, and from that ^time on com-
panies of singers and players, often brought to America un-
der subsidies of the Spanish government at Havana or Mexico,
stopped at New Orleans. Opera had been common in both
Mexico and Havana since before 1700 and no doubt many ot
the songs later heard in mangled forms of French or Spanish
from the lips of the negroes were brought to the Crescent City
by European singers.
From New Orleans both French and Spanish music was
carried into Texas and New Mexico by traders, enterprising
investigators, and their followers r who, despite restrictions,
were constantly lured westward. Especially strong was the
tide of French-Spanish immigration after the announcement
of the purchase of Louisiana by the United States, many claim-
ing they were unwilling to live under the new government.
Various types of Creole songs became known in the Spanish
border province; those dedicated to the black-eyed senoritas
were in strong evidence; but songs, under cover of which
remarks and illusions not otherwise permissible were included,
are to be found among the official records of Texas. Before
and after Texas became independent there was a slight infil-
tration of French music from the several colonies of French
(54)
Other Foreign Contributors
and Swiss who located at various points. In 1817 a group of
exiles settled on the Trinity; but they soon scattered.
Various Frenchmen drifted into Texas after 1821 and some
brought their families and made permanent homes in the re-
gion, but it was not until 1844 that another distinctly French
colony, Castroville, was established on the Medina River, some
twenty miles west of San Antonio, by Henry Castro who
brought over several hundred families. We get glimpses of
the cultural life of the group from Emanuel Domenech, who
served the community as parish priest during some years.
Among the songs he mentions in connection with Texas was:
Oh, surtout cache-lui
D'ou vient non ennui,
which he heard in San Antonio, and
Vogue, vogue, oh ma balancelle,
a boat song he himself sang on the Medina River. After two
years in the wilds, as he termed the region, this French priest
returned to France and wrote his impressions of Texas.
Even before Domenech issued his volume descriptive of the
new state of the American Union, others were turning their
eyes in its direction. In 1854 Victor Considerant, a French
economist who believed in the socialistic principle of work alike
and share alike, persuaded a group of French and Swiss, who
were dissatisfied with conditions at home, to emigrate to Texas
and establish there a colony in which there would be complete
freedom and independence* In this group of five hundred were
some highly educated people, artists, writers, and musicians;
in the latter group were Mrs. Vigoreaux, the mother-in-law
of the founder, Charles Capys, and Allyre Bureau, who had
been the musical director of the Odeon, a Paris theater. After
landing on the Texas coast, they travelled with many diffi-
culties to the vicinity of Dallas, where, near the present sub-
urb of Oak Cliff, they established "La Reunion/* on land
- Considerant had previously purchased. But homes had to be
built, and crops planted and harvested in order that all might
live. Those of the group unaccustomed to manual labor found
life in Texas very different from what they dreamed. The
' (55)
CLANGI CLANG! CLANG!
Abble Farwell Brown
From the French.
Allyre Bureau
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1 .(^laneprfarftiJCi'txTifri'T^f' za\ _ -yii sound- ing; Clang! Clang! Clang!Th& forge fire
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Clang! A migh-ty clamor! Clang! Clang'.Clang! The a.
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the Progressive Music Series. Used by permission of Silver
Other Foreign Contributors
heat of the Texas sun through the long hot summer was scorch-
ing to people accustomed to Alpine regions; and the Texas
northers swept down upon them before adequate housing could
be providied. They planted wheat only to have it eaten up
by grasshoppers.
Utterly unprepared for the conditions they were to meet,
CHOOSING A FLOWER
Miriam Clark Potter
From the French.
Allyre Bureau
& 1
Mi. r i i
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1. "Come flow- era to
2. "Too haugh-ty is
3. ."But she is too
4. "Though love-ly the
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shuns the bright mea dows,And hides in the
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shad-ows Her big- gol-den eye7 "The rose smiles up - on you From beau-ti - ful
pleas -es, As ev-'ry-one knows" "No flow-er is per- feet, No mat -ter how
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FIG. 26
(57)
Music in Texas
these pioneers had brought with them a piano, an organ, flutes
and violins; these indeed proved a means of recreation. In the
community house, the whole group met once or twice a week
for singing. Here Allyre Bureau composed some songs which
his compatriots sang among these "Clang, Clang, Clang,"
and "Choosing a Flower/' included later in the Progressive
Music Series and still sung delightedly today by our school
children.
But before long many were dissatisfied; the leader Consider-
ant and a group of the colonists moved to San Antonio, and
later returned to France. Of those who stayed in Texas, some
became prominent citizens of Dallas, one later served as mayor;
others moved to San Antonio and contributed in some degree
to the development of musical life in that city. Bureau set
out with a small group who intended to sail for France, but
he died before he reached the coast and is buried in Texas soil,
near Houston.
The Czech immigrants, a few of whom began to drift in
during the thirties, became a much more numerous group with
the passing of time. During the fifties many arrived; at this
time Fayetteville, Dubina, Praha, and Hostyn were settled.
Among the newcomers were physicians, lawyers, bankers, ed-
ucators, and musicians. Others continued to come until, in the
fifty- four Czech settlements in the state, there are in 1936
some 300,000 Czechs. Musical organizations were early estab-
lished; bands formed; and good music maintained in the
churches. Czechoslovakia, or Bohemia, is especially rich in
folk-songs; it is especially these that have lived in Texas. The
Czech folk-songs and folk-dances are popularized today by
numerous musical organizations which devote themselves spe-
cifically to the cultivation of the music of their fatherland.
Of the other nationalities who made settlements in Texas
before the Civil War the Swedes were the most important.
The leader was Sir Swante Palm, for many years the Swedish
consul at Austin. This scholarly gentleman and good musi-
cian, who served as the first organist of the Swedish Lutheran
church of the capital, did much to encourage musical activities
among his countrymen, many of whom he had been instrumen-
tal in bringing to Texas, Near Austin, at New Sweden and at
Round Rock, Swedish groups settled; in each community was
(58)
COME! O COME WITH ME
TEMPO
<U
VALSE.
1
i
dolce.
My kiff ij by the ihor; h*'i lifht end frtti To * ply tb f either'
Come ,oh! come with me, the moon i*
Couie, ehfcomewith
^ "' " 1
joy u,
-r -fn
rT' 7i
^ ,iai
b My
T J E- 1
me the
stars are
I r ' 1
gleam , ing;
All a_jound>a _
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tove, wit!
i beau . ty
teem , _ iar:
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(59)
Music in Texas
light ifld frt To ply the falWd oar It joy to m.) And fhil B w gli.U _
moon is beanuings Come, oh! come with me the stars are gleaming All a. round,*..
wn ff hll bet "My dew ctt uiid I love but th.e .'
_bovfc, with beau ty teem tog: Moonlight hours are meet for- love.
FIG. 27
a church which conducted its services in Swedish, and at Round
Rock and Austin Swedish colleges were established and main-
tained throug many years. The church choirs specialized in
the beautiful Swedish chorales. At midsummer, a festival was
held at which singers from the various choirs were combined
into a large chorus, which sang music of a high type. Folk
and art songs of Sweden and Germany were thus kept alive
and made familiar to the younger generation. At the Lutheran
Encampment, an annual affair, the combined choirs frequently
rendered choral works of a high type. Sir Swante Palm gath-
ered about him an extensive Swedish library, a large part of
which he left at his death to the University of Texas. Among
the books he bequeathed to the Swedish Lutheran Church at
Austin are many volumes of Swedish music, representative of
the best of his day*
One of the later foreign settlers; the Italians, many of whom
established themselves near Del Rio and Bryan, introduced
many simple but lovely melodies. One early known in Texas
is "Come, oh Come With Me."
(60)
CHAPTER VIII
Echoes From The Old South
IN spite of the presence within her borders before 1860 of
many foreign elements and of large groups of settlers from
northern states of the Union, Texas was at heart a part of
the Old South, as was clearly demonstrated by the Act of Se-
cession, passed early in 1861. The culture and tradition of
the dominant class had largely been transplanted westward
along the Gulf Coast; and the political philosophy of the South
was destined to determine the course Texas followed as a
state.
While the privations and suffering of many of the other
southern states during the Civil War were never known within
the boundaries of Texas, because only part of her territory fell
into Union hands and her proximity to Mexico made possible
the uninterrupted exportation of cotton and the importation
of not only necessities but even some luxuries, her people
shared the mental anguish of those years. Little by little the
state was depleted of its man force; they went to the front either
voluntarily or by coercion, or else they sought refuge in Mex-
ico to avoid conscription a procedure followed by many of
the foreign element which as a whole was hostile to slavery.
As a result the singing societies, the bands, and the orchestras,
entirely male organizations in those days, were soon disbanded,
not to resume their activities until after the close of the war.
From the press it has been possible to cull bits which give
some insight into musical life during those years. During 1861
came an influx of patriotic music from the presses of New Or-
leans, Richmond, and Augusta as well as Galveston, which
issued early in the year "The Southern Pleiades" (7 stars),
a march and quickstep by Edward C. Wharton, published by
August Sachtleben. Among the songs were Macarthy's
"The Bonny Blue Flag/' "Missouri," and "The Volunteers;"
Blackmar's "The Southron's Chaunt of Defiance;" Stanton's
"Dixie War Song;" Alice Lane's "Stars of our Banner;"
Music in Texas
George's "The Confederate Flag;" Glover's "The Southron's
Watchword;" and "God will Defend the Right" by a lady
of Richmond. "The Beauregard Manassas Quickstep" and
"Beauregard's Grand March" were among the instrumental
compositions. The importation of pianos into Galveston kept
pace with the diversity of sheet music, and a serenading band
was organized there by Charles Hoffman, evidently with the
expectation that the war would be speedily over.
With the beginning of 1862 music came into service for
benefit purposes. Concerts were given in the various cities for
the benefit of families of soldiers. In Galveston the Confeder-
ate Minstrels made their appearance, and concerts provided
revenue for the support of Dr. Bryan's Hospital and assistance
for the rangers. Among new patriotic songs was "The South-
ern Marseillaise." The sentimental included "Carrie Bell"
and "I would Like to Change my Name" by La Hache;
"Violette" by Eaton; reprintings of foreign songs such as
Kucken's "We Met by Chance" and "How can I Leave Thee;"
Mengis* "Switzer's Farewell;" Abt's "When the Swallows
Homeward Fly;" and old Scotch songs like "Annie Laurie,"
"Mary of Argyle" and "Bonnie Jean." "The Confederates
Grand March" by Hartwell appeared in its fourth edition dur-
ing that year.
With the opening of 1863 the seriousness of the situation
was generally felt. Despite the more marked exodus of troops,
music continued. Concerts were given in Houston for the
benefit of both Hood's and Sibley's brigades and for the Terry
Rangers; another contributed to the hospital fund. Professor
Frenel composed a new march in honor of General Magruder.
Concerts and tableaux in Rutersville provided further funds
for the Rangers; Hallettsville raised over four hundred dollars
for Young's regiment. Among the other concerts in Houston
was a program of orchestral music by Charles Otis; one in
April for Baylor's Brigade; in May for the General Hospi-
tal; in June there were juvenile concerts; in October, an ama-
teur program for the Davis Guards; and in November the Star
State Minstrels gave a benefit for the Soldier's Home. The es-
tablishment of a musical academy in Houston during the fall
suggests that musical education was still being earnestly pro-
moted.
(62)
Echoes from the Old South
With Galveston, as well as New Orleans, in Federal hands
there was small chance for such merchandise as new music to
enter Texas. Indeed the publication in the South had been
more and more limited until Blackmar in Augusta was almost
the only house left which continued to issue sheet music. John
JHL Hewitt, whose songs were widely popular, maintained a
music business there until 1863, when he, too, saw the future,
and returned to Baltimore. Of the songs published during that
year which found their way sooner or later into Texas were
Hewitt's "The South;" Anna Ford's "The Prisoner's Lament;"
Ilsley's "The Drummer Boy of Shiloh;" Mayer's "Keep the
Powder Dry;" and one edition of "Maryland, My Maryland,"
with the music attributed to a lady of Baltimore. One publi-
cation from the house of George Dunn at Richmond entitled
Christmas and New Year Musical Souvenir was made up of
three songs: "Fairies Have Broken Their Wings," with words
by Thomas Hood; "The Lover's Wish," text by Rosier; and
"I Know a Maiden Fair to See" by Longfellow, all set to
music by "F. W. R."
The year 1864 saw music in Texas at low ebb. A concert
by Madame Rheinhardt, a pupil of Mendelssohn, and the
benefit concerts, especially for the destitute soldiers and their
families, were the ouly items of interest. In New Braunfels five
of these followed each other in rapid succession. W^ith 1865
the sky began to clear. Madame Bishop visited Texas and by
the middle of the year male teachers began to insert their ad-
vertisements in the local press, Charles Otis in Houston and F.
W. Smith in La Grange being among the first. In October,
Miss Mollie Moore, later known as a gifted poetess, appeared
as a pianist, and in that same month musical items, including
one on Franz Listz, began to appear in the Houston Telegraph.
Concerts for benefit purposes continued, one for General Hood
being sponsored in San Antonio by Professors Plagge and
Heilig. The United States army bands stationed at such posts
as San Aptonio gave frequent concerts.
Aside from that group of songs that typified the last flare
of patriotic spirit before the end of the struggle, such as "There's
Life in the Old Land Yet;" Macarthy's "Origin of the Stars
and Bars;" and Mordaunt's "Brave Boys are They," man>
others appeared. These were principally love songs or songs
(63)
LORENA
H. D. L. Webster
J. P. Webster
Echoes from the Old South
The years creep slowly by, Lorena,
The snow is on the grass again;
The sun's low down the sky, Lorena,
The frost gleams where the flow'rs have .b
But the heart throbs on as warmly now.
As when the summer days were nigh ;
Oh! the sun can never dip so low,
Adown affection's cloudless sky,
The sun can never dip so low,
Adown affection's cloudless sky,
A hundred months have passed Lorena,
Since last I held that hand in mine;
And felt the pulse beat fast Lorena,
Though mine beat faster far, than thine:
A hundred months have passed, Lorena
When up the hilly slope we climbed,
To watch the dying of the day,
And hear the distant dhurch bells chime,
To watch the dying of the day,
And hear the distant dhurch bells chime,
FIG. 28
of home. Of the latter type were "What is Home Without
Mother?" "Childhood Hours are Fleeting By" by Eaton;
"Let Me Kiss Him for His Mother" by Ordway; "Take Me
Home to the Place;" and "Listen to the Mocking Bird." Among
the love songs sung through the years which always awaken
recollections of the life of the Old South ^ere "Bonnie Eloise/'
"Angel of Dreams" by Eaton; Webster's "Lorena" and the
reply to it; Stephen Foster's "I See Her Still in My Dreams;"
Daly's "Dying Camille;" Bucklet's "I am Dreaming Still of
Thee;" "Fm Leaving Thee in Sorrow, Annie;" and "Juanita."
Of the songs popular in those days, only "Nellie Gray" is sug-
gestive of slave life.
The evolution of a song in Texas is well illustrated in the
case of "Take Me Home to the Place Where I First Saw the
Light." In its original form it bore no relation to the South;
it was a transplanted flower when first known in Texas. Sung
through many years in this form, it was borrowed for camp
meeting, and became known as "At the Cross/* widely used
later as a gospel hymn. During the trail-driving years, when
the cattle industry made the cowboy a feature of Texas life,
(65)
Music in Texas
this song was paraphased in the cow-camp, with the following
result:
At the bar, at the bar
Where I smoked my first cigar,
And my nickels and my dimes rolled away;
It was there by chance
That I tore my Sunday pants,
And now I can wear them every day.
TAKE ME HOME
KANO.
1st. Take a horn* v> th pluco where I
Id. Talce we home, to the pla.ce when ih
first BILW the light, To tb **!. i.
or u .,g<- ires tfrp*, To my rt ju
Uk old bouw it
r
r
r
i.t..
r
bow*. - ,. Whey, the awx* - Jng bird iniijt tn* to ^ rr rt ^r| w y nigJiV ^M t 'Kjt *"
shMli **. 'Wh^ , g Jff'. ,* on Urt' riv -*rt KTMU ^ibiir r r pfl muy ,*jit, Thi|. K^ w
goual TLa Jcar Inertd* of myrtiiM U-J iu lU^^uiim Wo fr, XflQ * I t-i<i fc
t t 'i r*
(66)
u
And I know that- ihe*mi)ei u .t. AV .'forou I
WlwwUtey puliM the white blov -401*1 tfc* tfu- nwfaSI
> ^fc far * cW j
IU flwp m ihe 0*k
idi ffl * - dw> thwr foot-
i' 'M- \\ If u
FIG. 29
Take me home to the place where I first saw the light,
To the sweet sunny South take me home,
Where the mocking bird sung me to rest ev'ry night,
AJi! why whs I tempted to roam,
I think with regret of the dear ones I left,
Of the warm house that sheltered me then,
Of the wife and the dear ones of whom I'm bereft,
And I sigh for the old place again.
(67)
Music in Texas
CHORUS
Take me home to the place where my little ones sleep,
Poor niassa lies buried close by
O'er the grave of the lov'd ones I long to weep,
And among them to rest when I die.
Take me home to the place where the orange trees grow,
To my cot in the evergreen shade,
Where the flowers on the river's green margin may blo-w.
Their sweets on the bank where we played,
The path to our cottage they say has grown green,
And the place is quite lonely around;
And I know that the smiles and the forms I have seen,
Now lie deep in the dark mossy ground.
Take me home, let me see what is left that I know
Can it be that the old house is gone!
The dear friends of my childhood indeed *must be few,
And I must lament all alone.
But yet Fll return to the place of my birth,
Where my children have played at the door;
"Where they pull'd the white blossoms that garnish' d the
earth,
Which will echo their footsteps no more.
(68)
CHAPTER IX
Some Musical Annals of Texas Before 1890
USICAL development following the Civil War va-
ried with the different social classes. In general
there were five classes of people: (1) the well-to-do
whites, who having depended entirely upon slaves for la-
bor, were accustomed to leisure which was devoted either
to recreation or to the cultivation of the arts; (2) the
poor whites, who earned only a pittance by manual la-
bor, were socially almost on a par with the negroes, and
knew no music except the songs they had heard in the regions
from which they had come largely hymn tunes or English,
Irish, and Scotch folk-songs; (3) the foreigners, of whom the
Germans were the most numerous, who havirig always done
their own work, were entirely unaffected by the freeing of
the slaves; (4) the Mexicans, mainly in San Antonio and the
border regions, music loving but not active or enterprising
promoters; and (5) the negroes, instinctively music lovers,
but now faced for the first time with the problem of self-sup-
port. Staggered by the outcome of the war, the members of
the ex-slave-holding class were far more than a decade in be-
coming adjusted to the changed conditions; the poor whites,
like the negroes, were just beginning to emerge from a state of
bondage. Under such conditions the development of music
fell mainly to the foreign population, and it was only in the
centers that boasted a substantial German population that
any noteworthy musical progress was made. The sale of musi-
cal instruments in all parts of the state in the post war years
was extensive.
Among the more important centers were Houston, Galves-
ton, San Antonio, Austin, and the smaller German settlements
headed by New Braunfels. Houston and Galveston, through
their direct contact with New Orleans, Mexico and Europe,
were, visited frequently by foreign musicians; in San Antonio
were both the German and Mexican elements; Austin, the
capital, and the home of a large German group, was also a
leader musically* In all these towns, the musical organiza-
tions formed befbre the war began to function again shortly
after, under new leaders; concerts were frequent, aftdtfee study
of music under private teadhets was given encouragement.
Music in Texas
"Both the type of music studied and performed indicated a great
advance musically over that of the earlier decade* Particularly
was this noticeable among the Anglo-Americans, who formerly
had contented themselves largely with the popular music of
-the day.
Some of the incidents in the musical life of these towns are
of interest. Houston, enjoying the advantages of its proximity
to the sea coast and its position as an early railroad center,
was quickly able to return to normal conditions. Soon after
the German Glee Club was reorganized and, under the leader-
ship of Professor Miller assisted by Professor Eckhardt and
C. G. Heine, gave a series of vocal and instrumental concerts,
some of which were for charitable purposes, such as the sup-
port of the Bayland Orphan Home and to assist worthy
negroes.
By 1868 the Houston theater was again in operation, and
there Professor Stadtler, who had already organized a string
and brass band, as well as various singing societies, directed the
music. Even in the saloons of that day^ the music must have
been rather superior to that later, for we find Professor Stadt-
ler and his band, when not engaged in the theater, busy with
evening concerts at the Exchange saloon.
The outstanding events in the musical life of Houston during
the first decade after the Civil War were the Volkfests of
1869 and 1870. There was competitive singing by groups
from Houston and Galveston, and programs which included
works of Beethoven and Schubert were well rendered. When
news of the Franco-Prussian War was received, benefit con-
certs for the German widows and orphans were given. Two
excellent bands under the direction of Messrs. Schmidt and
Stadtler gave public concerts and took part in all civic cele-
brations. >
Music teaching went on apace. Private teachers taught in
the schools and at their own and the pupils' home. In 1868
the Houston Telegram announced the "starting of a new enter-
prise in musical education" that of teaching music in classes.
"The plan is meeting with marked success in Europe and else-
where/* Mr. A. Adey, who introduced the plan in Houston,
opened in that year the Houston Conservatory of Music, which
offered a complete musical education including class lessons
and concerts.
(70)
Some Musical Annals of Texas before 1890
Among the other contributions to the musical life of Houston
in the early seventies were the concerts given in 1873 by Euse-
bio Delgado, a well-known violinist of Mexico City, and by
the Peak bellringers and the Berger family, vocalists, harpists,
and violinists. For those of less cultivated tastes, the bur-
lesque opera troupes, presented with the brass bands of the
various minstrel shows which visited the city, offered enter-
tainment*
Galveston, from the early days of the Republic, gave promise
of becoming 'a musical center, for her location as a port was
such that most of the newcomers, including musicians from
either New York, Mobile, New Orleans, or Europe, landed
there, and it also became the headquarters of the state for
musical supplies. Pianos of the best manufacture, such as Wm.
Hall, Checkering, Gilbert and Haines, were on sale regularly
after 1850. Other instruments, especially violins, guitars,
flutes, accordions, and tamborines, were regularly kept in stock
and rarer instruments offered from time to time. Piano tuners
from Galveston were sent to all parts of the state on annual or
semi-annual trips* Sheet music and music books in a large and
varied assortment were regularly advertised by Galveston
merchants from the early fifties. Just after the Civil \Var the
house of Thomas Goggan was established, which, with its
branches, has served a wide circle of musicians and has pub-
lished compositions of both Texans and Mexicans. Even be-
fore the establishment of Goggan's, music written by local
musicians was being published in Galveston. One of these, of
which a copy has survived, was "Leaf by Leaf the Roses Fall"
by T. B. Bishop. A few of Mr. Fitze's compositions were also
published there, but many were issued by Oliver Ditson.
Another early composer was F. Smith, who taught at Baylor
University. His "Holly Oak Grand Waltz" was one of the
early compositions which had its origin in Texas and was pub-
lished by a reputable house. Attention has already been called
to Civil War Compositions.
Theater and concert life in Galveston had reached a point
during the fifties that justified the erection of the Tremont
Music Hall, which was owned and operated by August Sacht-
leben. The organization of several German singing societies
(71)
Music in Texas
as well as the Turn verein had taken place much earlier.
Aside from the music furnished by local talent, the list of
visiting artists who appeared in Galveston before the Civil
War included many celebrities, some of these foreigners, such
as Anna Bishop, the Bernais Mountain Singers, and the Hun-
garian exiles. An interesting figure connected with Galveston
musical life in the fifties was Adah Isaacs Menken, a world-
famed dancer and singer, who married Mr. Menken, a Gai-
veston musician, in that city in 1856.
The Civil War put an end to all musical activities, for, due
to the capture of the city by the Federals, the inhabitants fled
to the mainland. The loss of the files of the Galveston News
during this period has robbed the historian of much valuable
material concerning Galveston in two decades. But scarcely
was the war over before such organizations as the Harmonic
Society, the Liedertafel, Liederkranz, St. Cecilia Brass Band,
Lone Star Brass Band, a colored brass band, the Mozartina
and the Island City Glee Clubs and the Philharmonic Society
were all functioning.
In the churches Galveston was early blessed with un-
usually good music given under the direction of capable or-
ganists and choir directors. The Cathedral at Galveston
boasted the first pipe organ in Texas. It was contracted for
at a cost of $2,000, by Bishop Odin, and installed by Pro-
fessor Felton, whose children all became accomplished musi-
cians active in Galveston. Among the men who contributed
later to the development of church music were Professors
Sachtleben, Zawadil and Leberman, one of whose sons be^
came a music teacher at the State school for the Blind at Austin.
For many years the father was organist and director of music
at St. Mary's Cathedral, where a choir composed of excel-
lent voices, including those of Miss Reybaud and Messrs.
Waltersdorf and Walker, furnished a high type of music. As
a compliment to Professor Leberman, the Mozartina and
Island City Glee Clubs dedicated to him a performance in
1876.
San Antonio was musically very fortunate, for many of the
cultured foreign settlers, driven back from the frontier by
Indians and other hardships, took refuge there, and many rep-
resentatives of the educated families of the Old South, in ad-
(72)
Some Musical 'Annals of -Texas before 1890
dition to the original Spanish and Mexican settlers made their
permanent homes in that city. Even from New England had
come families of considerable musical talent, such as the Tomp-
kins group, consisting of a brother and two sisters, who
early in the fifties journeyed to Texas, giving concerts on the
way. The Clarksville Standard, in recording their first per-
formance in Texas, spoke of them as singers of extraordinary
musical talent and admired particularly their comic songs,
although it admitted that the pathetic, especially the "Snow
Storm" and the "Death of Ringgold" were beautifully sung.
Mr, Tompkins taught in San Antonio for many years; one
sister became Mrs. Enoch Jones, the other Mrs. Newton; all
were prominent musically until their death; and some of their
descendants have carried on their good work.
Other family groups very active in promoting musical life
in the Alamo City through many decades were the Herffs and
the LaCostes. The beautiful LaCoste voices are recalled still by
the singing of the descendants of Ferdinand Herff and Zulema
La Coste. Other active musicians of the seventies included
Professor Plagge, for many years the superintendent of the
public schools and for a time teacher of music in St* Mary's
Hall the Episcopal school for girls; Mr. Heilig, who began
teaching music in the public schools in the early fifties; and Mr.
Thielepape, the director of the Beethoven Club, who also served
for a time as the mayor of the city. When Sidney Lanier,
the southern poet, spent some time in San Antonio in the early
seventies, he visited the Beethoven Club, played his flute for
its members, and was enthusiastically received. His con-
tacts with this group of singers furnished some of the most
pleasurable incidents of his stay there.
One of the centers of musical life in San Antonio was the
Casino, established before the Civil War and supported until
the present day largely by the German element. Here concerts
were almost a weekly occurrence. Operas were given with
both singers and orchestra drawn from local talent; groups
from the German sing-ing societies were heard from time to time;
and visiting musicians were given a cordial and appreciative
welcome.
Music was generally provided for the public. Following the
early Mexican custom, a city band played on the plaza once
(73)
Music in Texas
a week or oftener; during the concerts the young men and wo-
men promenaded, while the elders occupied the seats about
the square. In addition to the city band, the military band
attached to the United States troops, stationed for a time
where the Gunter Hotel now stands, gave frequent concerts.
In the town was also an Italian harpist, Charley Calvello, who
directed a string band much in favor for dances and home
entertainments. Among the Mexicans a brass band, which
gave both outdoor and indoor concerts, was organized and
long maintained.
In the churches some good music was given. The Catho-
lic churches the Cathedral St. Mary's and St. Joseph's the
former catering especially to the Spanish, the latter to the Ger-
man element of the community, maintained a high standard.
The first pipe organ in a Protestant church was that installed
in 1875 in St. Mark's Episcopal Church, which before that
time boasted only a melodeon. The other Protestant sects,
while encouraging hymn singing, did not exert themselves to-
ward securing good musical instruments or trained choirs
until much later. In addition to the music on Sundays, some
concerts were given in the churches, largely by German or
German- American talent.
Children of most of the prosperous French and Spanish
families were generally sent away to school, frequently to
Europe; consequently the musical ranks were continually being
replenished by young people who had enjoyed opportunities
for hearing far more music than San Antonio could provide.
The activity of the Germans was largely directed to giving
their children a good education at home; in their educational
scheme music and gymnastics played an important part.
Just across from the present Gunter Hotel on Houston Street
stood Turner Hall, where the attention of both young and old
was directed to physical development and to the attainment
of some degree of vocal skill. Here also met for practice the
German singing societies, directed by trained musicians, who
instilled into their pupils, along with a general love of music
and a first-hand knowledge of many of the classics, the the real-
ization of the necessity for serious work. Among the teachers
of the period in addition to Messrs. Plagg, Heilig and Thiele-
(74)
Some Musical Annals of Texas before 1890
pape, were Mr. Petmecky, Mr. Clements, and Lotus Eber-
hardt.
Various merchants handled musical instruments. Sweet and
La Coste sold pianos and musical supplies; E. Pentrieder also
carried such things in his varied stock. Judge Devine is
generally ccredited with having the first piano; but even be-
fore the Civil War pianos were common in most of the homes;
in the well-to-do German or Mexican residence, it was unusual
not to have one. Guitars were very popular as accompaniments
for solo and group singing, especially among the Mexicans,
all of whom sang constantly the folk-songs of old Spain, while
many of them played beautifully by ear.
In spite of the lack of transportation facilities, which made it
difficult for musicians who visited other parts of the state to
reach San Antonio, opera troupes from Mexico, and occa-
sionally from Houston, came by stage and were always cor-
dially greeted there by a large music-loving audience. It was
in the years before the coming of the railroads that the foun-
dations for the cosmopolitan and music-loving city, which San
Antonio has since been acknowledged to be, were securely
laid.
Among the musical organizations which came into existence
in Austin, the capital, soon after the Civil War and worked
for the benefit of the general public was a city string band,
composed of eight of Austin's best musicians and directed
by Henry A. Klotz, a musician who later taught at the State
School for the Blind. A brass band was also organized among
the Germans; these two united their forces in a concert in 1870
for the benefit of the widows and orphans of the Franco-Prus-
sian War. The string band especially enjoyed popular favor
and more than one concert was given to secure funds for its
support. In 1872 George Herzog, who became the teacher of
orchestra and organ at the Blind Institute, took charge of the
brass band and later conducted an orchestra. In 1877 the
Hicks City Band, composed of colored members, came into
existence.
Through its organist and musical director, Mrs. Fanny L.
Crooker, St. David's Episcopal church was active in fostering
good music. Under her leadership a Philharmonic Society,
which met semi-monthly for musical study, was organized,
(75)
Music in Texas
and soon undertook the serious study of oratorio. Esther was
performed with fifteen soloists and a chorus of fifty; in 1875
the Creation was given by the same group with the coopera-
tion of the other musicians in Austin. For fifteen years Mrs.
Crooker played an important part in musical life in Austin;
she was drowned in the Indianola flood in 1886, Soon after
her death the church offered for sale the first pipe organ
brought to Austin, an Aeolian Automatic, with eight sets of
reeds, which had been installed about the time of Mrs. Crook-
er r s arrival.
The center of musical life in Austin for more than twert>
years was the Turner Hall which then faced on Colorado
Street and was later converted into the Scottish Rite Cathe-
dral. With a floor space forty-five by sixty-six feet and a
stage thirty-five by forty-five feet, it was claimed to be the
finest hall in the state. The Turn Verein early organized a
Singing Society which in the early seventies was under the
direction of L. Klappenbach. Later, the Saengerrunde came
under the direction of William Besserer, who, after playing
an important part in musical life in Austin for more than fifty
years, died in 1931* Born in Austin in 1850 and educated in
Germany, he returned to his native city early in the seventies
and entered upon an active career. Few musical performances
were staged without his aid; few were the musical organiza-
tions to which he did not at some time lend a helping hand. At
Scholz' Garden, which became the property of the German
Singing Society, the Austin Musical Union flourished for many
years under his direction and gave opera and choral works of
a high order* He also directed dramatic performances of the
younger German set. In 1875 Schiller's birthday was cele-
brated with tableaux and incidental music; in 1876 Prince
Wolfgang of Anhalt was given; in* 1886 Stradella and Men-
delssohn's Lorelei were performed by local talent under his
direction,
The outstanding event of musical life in Austin during the
seventies was the twelfth Saengerfest held there in April, 1879,
to celebrate the twenty-fifth anniversary of the founding of
the State Saengerbund. Delegations from San Antonio, New
Braunfels, Dallas, Brenham, and Galveston joined with the
(76)
Some Musical Annals of Texas before 1890
Austin Saegerrunde and a mixed chorus in a three-day session.
Ten years later the city again welcomed the singers who took
part in the seventeenth Saengerfest.
Numerous were the teachers and musicians who contrib-
uted to musical progress. Among those in the seventies
were Udo Rhodius, pianist and composer; J. Messmer, who
had played in concert with Paganini in London and Paris; C. T.
Sisson, who composed much music popular in his day and
acted as concert manager in Austin; and Mrs. Cecilia Town-
send. In the eighties, Mrs. J. J. Lane, who taught at Hood's
Seminary; Miss Virginia Latham, teacher of piano at the Blind
Institute; Mr. and Mrs. Robbins at the Texas Female Institute;
H. F. Gruendler who taught at the German and English Aca-
demy, and his wife at the Stewart Female Seminary where Miss
Clara Revell also taught; Mrs. E. B. Harding at the Mendels-
sohn School of Music and Art; and Professor Besserer who
taught in almost every school in the city at one time or another
all contributed to musical education. The first music teacher
in connection with the public schools was Mrs. Bettie Tyler who
taught in the "Graded School" in 1881-82.
During the decade many musical attractions visited Austin.
Among them were the Carleton Opera Company, the Salis-
bury Troubadours, the Emma Abbott Opera Company, the
Hungarian Gypsy Students, and minstrels galore. These
with the band concerts, the operas, and other concerts by local
talent gave an opportunity for the young people to hear and
study good music, and for the older folk to take an active
part both in its cultivation and enjoyment.
The beginnings of music in Dallas are to be found in the
annals of that band of French, Belgian, and Swiss settlers
who established in 1855, on a site only a few miles from Oak
Cliff, the colony of "La Reunion" under the leadership of
Victor Considerant. Among the individuals who figured most
prominently in the musical life of the colony were: Mrs. Vigo-
reaux, the mother-in-law of Considerant, who taught for a
number of years; Allyre Bureau, already mentioned; Abel
Daelly, a flutist* and Charles Capys, the leader of a singing
society.
The close of the Civil War found Dallas a struggling vil-
lage of less than a thousand souls; but interest in music was
(77)
Music In Texas
not lacking. At an entertainment given to raise funds for the
erection of the Methodist church in 1868, music was furnished
by Dr. Willis and his class and by the Dallas Glee Club, Pro-
fessor St. Clair gave lessons on the violin and flute and also
taught dancing; Mrs. S. B. Halsell taught the piano and guitar.
In that same year, instruments were ordered and a brass band
organized under the leadership of Judson B. Steffee. Th?s
band, late in 1868, gave a concert at Lancaster in response to
a request of the "Ladies Building Committee* r and was assisted
by Professor Steele's vocal class. Professor Steffee was a busy
man, for he also organized and instructed the Mechanics Brass
Band, formed that year at Waxahachie, a band in Lancaster,
and a band at Weatherford. Mr. Kinney organized in Dallas
a cornet band of eight members. Among other teachers who
were active in the late sixties were Mrs. Ellen S. Smith and
Professor J. D. Lackie, who taught both vocal and instrumental
music and directed many concerts of local talent.
With the coming of another Swiss group in 1870, music
was given additional impetus, for most of the newcomers,
while artisans, were accustomed to turn to music as a regular
form of diversion. As a result the Swiss Glee Club was organ-
ized and soon claimed an important place in social life. This
with the Turner singing association, promoted music in many
forms. A regular feature of Dallas life was the May Fest, at
which songs in French and German usually featured the pro-
gram. Concerts were frequently given by the Turner singing
association, which was directed bv Professor Bauer, a teacher
and composer of standing. One of his compositions, a Christmas
anthem, was performed at the Episcopal church in 1875, when
almost all the good voices of the city took part under his di-
rection. Another organization which traces its origin to the
Swiss group was the Frohsinn, a singing society which took
part in the Saengerfest at Austin in 1879 by singing "Wie hab
ich dich geliebt" by Moehring; after that date, it appeared
regularly on the Saegerfest programs.
As Dallas before the days of the railroads was further re-
moved from contacts with visiting musical attractions than
Galveston or San Antonio, its musicians were forced to de-
(78)
Some Musical Annals of Texas before 1890
pend more largely upon local talent and to develop it to a greater
extent. That the programs given were not to be despised is
evidenced by a survey of a few of the compositions rendered,
In 1874 one opened with a piano duet of an operatic overture,
the Infelice of Ernani was sung by Major Obenchain, and the
Mad Scene of Lucia de Lammermoor by Miss Rivers; Mrs.
Alice Fisher gave "Fleurs des Alpes," a Tyrolienne song, and
the "Grand Air des Dragons de Villars"; while the program
closed with Gottschalk's Last Hope played by Mr. W. G.
Francis, who was rated as one of the best pianists in Dallas. A
typical Turner concert was the following, given in 1875: Over-
ture to Tancredi, Aria for tenor from Der Freischutz, Rei-
chardt's Das Bild der Rose as chorus with tenor solo, selection
from Egmont by the orchestra, a duet from Martha, and
Kuntze's Weingalopp by the chorus under the direction of
Theodore Bauer. Other musical organizations were the Con-
cordia Club, organized in 1875, and the Cosmopolites, an ama-
teur group which contributed minstrel performances. The
Musicale Society, formed about the same time continued ac-
tive for many years.
The banner year of Dallas musical life in the decades fol-
lowing the Civil War was 1883, in which the new opera house
was opened and the state Saengerfest held its biennial festi-
val there. For this occasion the Spanish Fort band of New
Orleans was engaged at a cost of $6,000. The mixed chorus
under Profesor Frees, numbering about seventy-five voices,
prepared the jRose Maiden for presentation. Dallas proved no
unworthy host to the delegations which arrived from Austin,
San Antonio, Galveston, and Houston, as well as from many of
the smaller cities, such as Terrell, Longview, Brenham, and
Waco. Here was gathered, for the first time in the history of
North Texas, a representative body of the best of Texas musi-
cians, who rendered a program of which no region could feel
other than pride.
(79)
CHAPTER X
Musical Education
SINCE the missions were the first schools in Texas, it might
truthfully be said that music has had a place in the school
curriculum since the days of the earliest settlements in the re-
gion; but it has not been included during the whole period
since, nor has its progress been either steady or continuous* In
the schools established under the civil government of Spain,
no music was taught, nor do we find reference even to group
singing. In the early Anglo-American schools, many of which
taught both boys and girls, songs were generally sung, if the
teacher was capable of singing; in the schools for girls, the
guitar and piano were almost always among the branches of
instruction offered for a special fee, which in the period before
1860 ranged around $20.00 per semester. There are few ref-
erences to the teaching of other instruments; these were left
largely to the private teachers, more or less capable, who, in
large numbers, offered their services to the public from 1830 on*
The first specific instance of music taught in the public
schools as a regular branch of the curriculum at public expense
was at Galveston. Just when the subject was introduced is
not clear, but in 1847 when a committee of citizens made a
visitation of the schools they made the following report:
Music has been taught in all the schools, since their opening, by
Mr. Hill, with that thoroughness and skill for which he is so well
known in the city. The introduction of this beautiful art, as a branch
of elementary education, has given universal satisfaction to all inter-
ested, and to none more entirely than the children themselves. This
is no longer an experiment or a theory. Whether as a means of joy-
ous recreation to the fagged and weary pupil, or as a weapon of
discipline over the boisterous one, it is worth tenfold its cost; but
when we contemplate its probable influence, as a moral hygiene, over
the minds of our youth, at a season of life when impressions are the
most lasting, its value is truly incalculable. Among the pupils there
is a large number of Germans, many of whom entered the schools
without knowing a word of English. These children now sing our
National Airs correctly, and feelingly, and are forming their ideas
of patriotism, and its duties, in their most pleasing association.
It is not difficult to explain the appearance of this branch of
Musical Education
education at this comparatively early date. The movement
toward inclusion of music as a regular branch of scnool instruc-
tion was in full swing. Efforts of school officials in Boston
dating from 1830 finally secured the inclusion of music in 1838
in the public schools, with Lowell Mason as the teacher* Dur-
ing the next few years other cities rapidly fell in line:
Portland 1839 Buffalo 1843
New York 1840 Pittsburgh 1844
Cincinnati 1840 Salem 1844
New Orleans 1841 Providence 1844
Mr. Hill, the Galveston teacher, had come from New Orleans,
where music had already been introduced in the schools of the
Second Municipality,
Nor is it difficult to explain the interest in such a branch of
study in a town as remote as Galveston from large cultural
centers. Galveston was the port to which most of the Germans
who were about to settle in Texas came. Many went no fur-
ther; others lingered longer or shorter periods awaiting means
of transportation to the new settlements inland. Accustomed
as they were to music in their schools in the fatherland, it is
small wonder that they lent their influence to its inclusion here.
As the new German settlements were founded and schools
established, music took its place in the curriculum. In San
Antonio, Mr. Heilig became the teacher in "The People's
Schools/* as a receipt preserved at the City Hall testifies:
It is hereby agreed between Francis Heilig and the city of San
Ajitonio through their school committee that said Heilig agrees to
teach vocal music to the scholars of "The People's Schools" of San
Antonio, by giving said scholars four lessons per week to be given
at such hours as the teachers of the different schools may decide.
For such service the city agrees to pay the said Heilig Ten Dollars
per month, at the end of each mionth.
J. M. West
F. Heilig
J. Ulrich
Chairman of the School Committee
This agreement is dated 1853, and the records show that Mr.
Heilig continued to perform that service for many years*
During the forties and fifties music was generally taught in
the private institutions of learning, but this instruction generally
covered no more than group singing for all, and piano or guitar
(81)
Music in Texas
playing for the girls. Mrs. Seelfeld at Velasco, Miss Mad-
den at Houston, the Misses Sims at Washington and Mrs.
Mayo at Rutersville were among the early teachers, Wesleyan
at San Augustine, the University of San Augustine, Nacog-
doches University, and the Masonic Collegiate Institute at
Fanthorpe, now Anderson, were among the schools that ad-
vertised this branch. Melinda Rankin recounts the presence of
a good teacher of music at Matagorda for some years pre-
ceding 1850; and the Lavaca Institute offered instruction in
both piano and guitar, as did the Boston Female Academy,
where vocal music was made a part of each day's exercises.
In 1851 Mr. L. H. W. Johnson was proposing to teach music
by a system of mutual education and the use of figures:
I would introduce to a class say from seven years and upwards
the science of music by figures, which from its combining pleasure
with utility its simplicity and facility of acquisiton its moraliz-
ing and harmonizing influence is decidedly preferable to any other
elementary branch for the purpose of attracting the attention, ex-
panding the mind, and paving the way, or forming a prelude to other
solid, scientific, ornamental, and useful branches of education. . .
In the following year Mr, G. G. Miner announced to the Hous-
ton public that he would instruct in both harmony and com-
position in addition to vocal and instrumental music. In 1853
Baylor Female College was advertising for a " thoroughly
qualified" music teacher*
The Civil War was scarcely over before strong effort was
made to include music as a part of the regular work of the public
schools. At the meeting of the State Teachers Association in
1866, the standing committee on music, of which H. Ernest
Vaas and Gustave Duvernoy, both of Houston, were mem-
bers, reported on the adoption of a text book in music, The Sil-
ver Lute by Geo. F. Root, published in Cincinnati by John
Church and Co, in 1862. Extant copies point to its wide
popularity, both in the day and Sunday schools. Of the va-
rious state superintendents who urged the teaching of music,
Prof. Hollingsworth was a leader. The Acme Song Collec-
tion recommended by him is the first textbook seen by the
writer which contains songs with a specific reference to Texas,
(82)
Musical Education
one being an adaption of Dixie to words descriptive of Texas
conditions. The company which issued it also circulated small
prospectuses which contained printed music; and even these
seem to have come into popular use.
HURRAH! THE GRAND YOUNG STATE OF TEXAS
Oh! our Texan State is a grand creation,
The largest of all this glorious nation.
Then hurrah! hurrah! hurrah! sing we all.
CHORUS: The boundaries of our State so fair,
Hurrah! hurrah!
Surprise all people everywhere,
Such riches vast containing.
Hurrah! hurrah! the grand young State of Texas!
Hurrah! hurrah! the grand young State of Texas!
And the growth of great men will Texas nourish,
For she is aroused to make her schools nourish.
Then hurrah 1 hurrah! hurrah! sing we all.
We will make our schools unto none the second,
The best let them soon through the world be reckoned.
Then hurrah! hurrah! hurrah! sing we all.
Cultured minds and hearts be the lovely graces
For crowning the beauty of fair Texas faces.
Then hurrah! hurrah! hurrah! sing we all.
Come and j.oin our song in a glad rejoicing,
With glorious zeal together all voicing.
Then Oiurrah! hurrah! hurrah! sing we all.
FIG. 3O
The organization of the Music Teachers National Associa-
tion in 1876 and that of the Music section of the National Edu-
cation Association in 1884 were quickly reflected in Texas by
the organization at Austin in 1 886 of the Texas Music Teachers'
Association, with 76 members. Its object was to unite the musi-
cal profession "for better protection of its interests, frater-
nal feeling, improvement in methods of teaching and a higher
degree of musical culture throughout the state/* and to work
in cooperation with the national body. The moving spirit of the
organization was }. Alleine Brown of Chappell Hill, who was
vice-president for Texas of the national association; its secre-
tary during the ten years of the existence of the organization
was William Besserer of Austin. After some five years of
(83)
Music in Texas
continued growth, the membership declined and the attendance
at the annual meetings became so limited that it was permitted
to expire after 1894. Its membership was made up almost exclu-
sively of private teachers of music, largely piano, although
some of the private schools were represented. Its rolls give no
indication of any alliance of its interests with the teachers of
music in the public schools, who were still few in number.
Before 1900 such instruction in music as was given at public
expense was, as was true of the United States in general
limited to vocal music; but in contrast with the programs of
the larger cities, Texas adopted no uniform course of study,
*uch as Luther Mason's National Course, whose popularity
was extensive. Few were the attempts at systematic teaching
of even the fundamentals of music except in the schools which
employed special music teachers, and these were usually visit-
ing members of the staff, not a part of the regular faculty. Only
in the German schools was music taught systematically through
the grades. In the public high schools, which came into exis-
tence after 1880, no music was taught for many years.
Very slowly, with the opening of the 20th century, was the
system inaugurated in the larger cities of having a music super-
visor teach the regular class-room teachers, who, in turn, at-
tempted to teach the children. Certain defects became at once
apparent; there were few musicians trained for public school
work; and many class-room teachers, good in other subjects
lacked both voice and ear for music. To obviate the latter
difficulty, any teacher in a school found especially fitted either
by nature or training to conduct the music classes, was permit-
ted to exchange with the other teachers who could not. In the
Anglo-American schools the movable-do system was uniformly
followed and the textbooks used were of American origin; in
the foreign schools, where the best work was done, the fixed-do
system prevailed and foreign textbooks were the rule. Vocal
music was the only type known to the schools.
While progress, if somewhat slow and halting, was thus
being made in Texas, Thomas Edison was at work on his sound-
reproducing machine, for which he secured his first patent
in 1877. So slow was its improvement, that even after fifteen
years the reproduced tone was so faint as to be inaudible to
all but the person connected with the machine by a transmitter
to his ear. In the nineties these machines reached Texas, where
(84)
Musical Education
they were regarded with great curiosity. Phonograph parlors
vere instituted as a form of amusement. Each machine was
provided with from six to eight pairs of transmitters; the auditor
held them to his ear in an attempt to catch sounds which
appeared to come as from a great distance, accompanied with
much creaking and groaning of the apparatus. Musicians
scoffed at such music; and educators could not, at the time,
foresee any application to their field of this still crude toy.
Piece by piece the sound reproducing machine was perfect-
ed. The early wax cylinder gave way to circular discs; fric-
tion was gradually eliminated; the tone quality was improved;
and the recording done by electrical methods. Before all these
improvements had been worked out, educators had begun to
sense the increasing importance for them of the machine. In
1896 Springfield, Massachusetts, introduced an appreciation
course in music, made possible through the illustrations fur-
nished by the machines; and by 1910 such instruction was being
given in Texas, if not in as organized a form. Year by year
thereafter the phonograph advanced from the kindergarten to
the college, until it became a daily disseminator of, and a con-
tributor to, the understanding of music as an art.
The Vacant Chair.
E
=^
. . _i.V ^ ^'
1. We shall meet, but we shall miss him, There will be one vacant chair ; We shall linger to ca-
2. At our fire-side sad and lonely, Often will the bosom swell At remembrance of the
3. True they tell us wreaths of glory Ev-er-more will deck his brow, But this soothes the anguish
.
p t , p p
M J > '
ress him While we breathe our evening prayer. When a year ago we gathered. Joy was
sto - ry How our noble Willie fell ; How he -strove to bear our banner Thro* the
on - ly Sweeping o'er our heart-strings now. Sleep to - day, O ear - ly fall, - eti, In thy
1 j yi *t tX '
' M U *
1 ' -U i- U tf.I
in his mild blue eye. But golden cord is severed, And our ho'pes in ru - in lie.
thickest -of thought, And up - hold our country's honor, In the strength of manhood's might,
green and narrow bed, Dirges from the pine and cypress Mingle with the tears we shed.
^
in *iioet farm. wiiU t/iupbouy ftud accompaniment, by 001 & Cur, 95 Clark ., CLicaco. Price 2i ceo
From The Si/uer Lute. FJG
(85)
BOOK III
THE PERIOD OF
AMALGAMATION
CHAPTER XI
Effects of the World War on Musical Progress
THE years preceding the entry of the United States into the
\Vorld War served for Texas as a period of initiation, for
conditions in Mexico necessitated the transit of large bodies
of troops from all parts of the country to and through Texas.
The occupation of Vera Cruz in 1915 seemed an echo of
the events of 1846-1848; the Pershing expedition into Mexico
and the contacts of the Federal troops stationed along the
Rio Grande, where bandits and revolutionists kept all astir
for years, brought into Texas a flood of Mexican airs and revo-
lutionary songs. Some of these came in printed form; many
more, through oral transmission.
The entrance of the United States into the European melee
ushered in an era of community singing never before known in
Texas. The songs most commonly used were the patriotic and
those already generally familiar; the new war songs sung in
Texas during that particular period are the subject of a special
study not yet complete.* Certain ones, such as "Smiles/*
"Pack up your troubles/' and "There's a Long, Long Trail
a~winding/' attained great popularity in all the army camps;
of these Camp Travis at San Antonio was easily the greatest
in the Southwest. The encouragement of community singing
in the camps had both good and bad results. Men who had
never sung before and who had looked upon music as some-
thing quite beneath their dignity, now, under the influence of
the crowd, joined wholeheartedly. So far, so good. But both
this singing, which became quite a popular pastime, and
the music played by the military bands were turned directly to
the one end desired by political and military leaders that of
arousing a public sentiment which would support the war pro-
gram. In accomplishing this, the music program sponsored
*Dr Milton Gutsch of the History Department of the University
of Texas, with rare foresight, gathered a remarkably complete col-
lection of documents showing tihe relation of Texas to the World War.
These will furnish many detailed studies for future historians.
Music in Texas
by the War Department emphasized Americanization so dras-
tically that the enthusiasm of the foreign elements for their
own music was, unfortunately, completely destroyed.
Not only music suffered as a result of the Americanization
program; foreign languages were swept from the curriculum
of the graded school. At the very time that a child is most
susceptible to a cultivation of the sense for language, such in-
struction was prohibited. German, which had, for a half
century, beea taught in the public schools of San Antonio from
the third grade on, and Spanish, usually taught from the fifth,
were eliminated by legislative enactment. French, taught only
in a few high schools, was but slightly affected; in the
secondary schools the enrollment veered toward Spanish. But
now, for the first time in Texas, the child of foreign ancestry
was made to feel ashamed of it. Even in towns like New
Braunfels in which German had been the language of the
people since its establishment in 1845, the teachers were so
carried away by war propaganda or fear of criticism, that
children were made afraid to address their parents at home in
the tongue they had formerly used. To such extremes did
otherwise intelligent people go that, in an excess of patriotic
fervor, they consigned ruthlessly to the flames German libraries
and collections of music which were priceless from an histori-
cal standpoint, as they covered, in some instances, the whole
period of German life in Texas. The drafting of young men
who were descendants of foreign immigrants had the further
eilect of sundering forever the bonds of blood and language
which had united them with Europe. The severing of these
relations was promptly reflected in the commercial world*
Books and music, formerly imported, and sung in foreign
tongues, were replaced by others printed in the United States
in the English langugage. In only too many cases, the former
contacts with sources of the best of foreign music and literature
were broken, never to be restored in the same fashion.
The effects of the war propaganda on the young children of
Germanic descent were soon perceptible. After being taught
in their most impressionable years that their European relatives
were monsters capable of committing the most horrible atroc-
ities, many grew up with a horror of all things German; they
were ashamed to admit understanding the language, much less
(90)
Effects of the World War on Musical Progress
using it. Foreign-born parents were replied to in English;
foreign books, pictures, even music were regarded with scorn.
As the schools conducted in a foreign language were entirely
closed for a time, and only slowly, as people recovered from
the general hysteria, reopened, thousands of children who had
spoken readily a foreign tongue lost their command of it en-
tirely. As a result of this drastic program, the songs their an-
cestors had sung and cherished were discarded; the ranks 6f
the musical organizations the parents had fostered were never
filled by the sons and daughters. A gap was opened between
two generations, never to be bridged.
Nowhere were the results more noticeable than in the fields
of literature and music in Texas. In the higher institutions
of learning, the special classes open to students who commanded
a speaking knowledge of a foreign tongue were discontinued,
for the students entering could neither speak nor read any-
thing but English. The rich background of folk song and
dance had also been lost, and nothing substituted therefor.
Other drastic changes which banished music from the social
life of the foreign element in Texas, especially among the labor-
ing classes, were brought about through prohibition, which was
made possible largely through the war conditions prevailing
at the time of the passage of this measure. It closed the old
German beer-hall and the beer-garden, where music and social
enjoyment had advanced so comfortably hand in hand through
the years. During the period of prohibition, most of these
places disappeared, never to be restored. Gone were the
resorts where the family went together on Sunday afternoons;
gone, too, was the habit of the family staying together.
Especially were these changes reflected in the German sing-
ing societies, whose history we shall now briefly retrace.
(91)
CHAPTER XTI
Singing Societies in Texas
THE earliest singng societies of which we have a record in
the early annals of Texas were not composed of Germans;
they were made up of Anglo-Americans. The call for the
organization of the first of
these was issued at Hous-
ton late in 1&39. The
organization was effect^
was
ed, and the society func-
tioned for a time, accord-
ing to bits culled from the
local press of the era. It
served more as a choir for
the religious services held
in the capitol than as a
secular choral group, but
enlisted in its ranks were
people sufficiently inter-
ested in music to attempt
to promote a better type
of sacred music than
was generally current.
Beginning late in 1850,
the Austin Serenaders, a
group of male singers,
gave a series of concerts at
the capital city. A musical
association was formed in
Dallas in 1856 of which
we have a few details;
one in Houston, organ-
ized in I&57 was broader
in design, as it included
both sacred and secular
vocal and instrumental
music on its programs.
There existed, no doubt,
other Anglo-American
Sacred Music Society. We have
been reauested to invite those ladles
and gentlemen of this city who art
anxious to form a society for the pur 7
pose of improving themselves in -Sa^
cred music, to assemble on Thursday
evening next, at 1 1-2 o'clock, in the
Representative Hall. Itoe importance
of such a society will present itself to-
every individual, who will reflect a
moment on the subject. Singing is-
one of the most interesting parts of
public worship and as such has re-
ceived ^articular attention in all
Christian countries; and in the North-
ern United States, is now one of the
prominent branches of study in many
schools. It is indispensable to the-
agreeable and effective performance
of this portion of divine worship, that
those who desire to participate hi it
should have at least a little knowl-
edge of the rules and principles of
music; else its soothing effect will be
lost, by want of harmony, time, &c.
In addition to this, there is another
strong reason why such a society
should be organized. Most persons,
particularly the young, take pleasure
in singing, or in listening; and it has
now become a well known fact, that
individuals need not be born singers,
but that the human voice is as suscep-
tible of cultivation and improvement as
the human mind. An innocent and
agreeable method of passing some of
the long winter evenings, is thus pre-
sented to those and we trust there
are many such who prefer amuse-
ment of this nature, to those which
tend alike to- injure the normal and in*
tellectual character. We confidently
expect to see a numerous attendance.
FIG 32.
Singing Societies in Texas
groups in the same era, but little is known of their activities.
The German singing society in Texas* was the outgrowth
of a movement in Germany which culminated in the formation
of the first German National Saengerfest at Frankfort-on-t he-
Main in July, 1838, when over 700 singers participated. As
The First German Singing Society in Texas, the Germania, organized
in New Braunfels, March 2, 1850. This drawng was made by Carl G.
Iwonsky, in 3,857. The members pictured above are (reading around
the table from tlhe left) : August Bechstedt, A. Baier, Ed Rische, F. Mo-
reau, H. Conring, C. H. Holtz, Julius Bremer, EL Seele, E. von Stein, G.
Eisenlohr, A. Schlameus, J. Rennert, A. Hartmann and H. Schimmel-
pfennig. ... -
an echo of that program, there was organized at New Braun-
fels on March 2nd, 1850, the Germania, the first German sing-
ing society in the state.
Soon afterward similar groups were formed at Austin, San
Antonio and Sisterdale, a tiny hamlet in the hills. On October
15, 1853, these four groups met in the First Saengerfest
at 'New Braunfels. Torrential rains made the trip almost
~*To some extent I (have followed the "Brief History of toe German
<^te Saengerbund of Texas" in Moritz Tilings German Element
in rLas^Houston, 1913), but the possession of the original programs
collected by Carl Besserer of Austin (1850-1931) fcas enabled me to
make certain corrections and enlargements.
(93)
Music in Texas
Lebewohl.
FRIEDRICH SILCHER, 1831.
1 Mor - gen muss ich fort von hier und muss Ab - schied neh - men.
2 Wenn zwei gu - te Freun-de sind, die ein - an - der ken -nen,
3. Kus set dir ein Liif - te - lein Wan - gen o - der Han - de t
dSi
O du al - ler-schon-ste Zier, Schei - den, das bringt Gra - men.
Sonn' und Mond be - we gen sich, e - he sie sich tren - nen.
den - ke, dass es Seuf - zer sein, die ich zu dir ^ sen j- de.
Da ich dich so treu ge - liebt, ii - ber al - le Ma - ssen f
Noch viel grd - sser ist derSchmerz.wenn ein treu ver- lieb -tes Herz
Tau - send schick* ich tag Hch aus, die da we - hen urn dein Haus,
soil ich dich ver - las
in die Frem-de zie
weil ich dein ge - den
sen, soil ich dich ver - las - sen !
het, in die Frem-de zie - het.
weil ich dein ge-den - ke.
m
FIG 34
The selection sung at the first Texas Saengerfest (18530 by the
Austin group.
(94)
Singing Societies in Texas
impossible; the Austin singers lost their books and sup-
plies while swimming the swollen Blanco River; the Saenger-
halle could be reached from the town only by wagon; yet
everybody was there. The director of the Satk Antonio group
was Adolf Douai, editor of the San Antonio Staatszeitung
and prominent later outside the state as a writer; A. Siemering
directed the Sisterdale group; H. Guenther of New Braunfels,
the Germania; while the Austinites were led by G. Petmecky.
The program, which well deserves to figure in the annals of
music in Texas was as follows:
PART I
Vaterlandslied A Marschner Mass chorus
Liebeschmerz Volksons Austin Society
Minnelied, J. Otto Germania Singing Society
Der Tanz, J. Otto San Antonio Society
Das treue deutsche herz by J. Otto Germania
Trinklied C. Kreutzer Sisterdale Quartette
PART II
An die Freundschaft, A Neithardt Mass chorus
L.ebewohl P. Silcher Austin Society
Auf dem Wasser zu singen by Goethe Sisterdale Quartette
Schlosserlied, by J. Otto, Germania Singing Society
Was 1st des Deutschen Vaterland, by Cotta, San Antonio
Singing Society
Jaegers Abschied Mendelssohn Mass Chorus
The second Saengerfest was held the next year at San An-
tonio with the same organizations participating. We are not
concerned here with the political activities of these groups;
but the fact that the meetings gave opportunity for organized
expression on many public questions should not be overlooked.
At San Antonio a constitution of the Saengerbund was offered
for adoption, and the leaders seized the occasion to express
themselves upon various public questions, notably on slavery
<md public education.
By 1855 there were thirteen German singing societies in
the state, but only Indianola, Columbus and La Grange, in ad-
dition to those already named, took part in the third meeting
at New Braunfels. After Austin declined the honor of acting
as host for the next year, the Austin, San Antonio and La
Grange groups met again at New Braunfels as guests of a
newly organized society, the Liedertafel. Here for the first
time the songs were accompanied, a piano taking the place of
the original orchestral accompaniment to "Bine Nacht auf dem
(95)
Music in Texas
Meere," a -choral work which included solos and duets. The
fifth 'meeting was also held at New Braunfels with only four
societies attending, as the Sisterdale group had dissolved; the
sixth was at Fredericksburg, then a frontier outpost, with two
groups from New Braunfels and one each from Austin, San
Antonio, Fredericksburg, Pedernales and Grape Creek taking
part. At the seventh Saengerfest, held at New Braunfels in
March, 1&60, a mixed chorus participated for the first time
this was the Concordia of New Braunfels* The meeting
planned for Austin for 1861 was, due to war conditions, not
held.
Not until 1869 was an attempt made to revive the Saenger-
fest; in that year representatives from the two San Antonio
groups, the Beethoven Maennerchor and the Liedertafel, the
Austin Germania, and a group from Boerne prepared a new
constitution and selected San Antonio as the next place of
meeting. In September, 1870, the eighth Saengerfest was held
there in a jubilant spirit, for the Franco-Prussian War had
brought victory to the Germans. Although there were Ger-
man singing societies in both Houston and Galveston, only
groups from west of the Colorado participated: the two New
Braunfels groups, Boerne, Comfort, Yorktown, La Grange,
and San Antonio. It was then, decided to hold the meetings
only biennially. At the 1872 meeting the establishment of sing-
ing schools for children was recommended, and for many
vears such schools were conducted in various cities and towns
of South Texas* Not only children of German parentage but
also those of other ancestry were instructed; and from their
ranks came, in many cases,, the later members of the singing
societies.
The eleventh Saengerfest at San Antonio in 1877 marked
the initial appearance of soloists and an orchestra in connection
with the mass.ed chorus. Meeresstille by Fischer and parts of
Rossini's Stabat. Mater were given. From this meeting dated
the attempt of each city to outdo its predecessor in the matter
of orchestra and soloists; singers from New York and orches-
tras from Cincinnati, St. Louis, Chicago and Minneapolis were
imported to add splendor to the programs.
At the twelfth Saengerfest, held in Austin in 1879, the
(96)
Singing Societies in Texas
twenty-fifth anniversary of the founding of the State Saenger-
bund was celebrated.
PROGRAM OF 12TH SAENGERFEST, AUSTIN, 1879
PARTI
Overture Eganont by Beethoven, Orchestra
Lob des Gesanges by L. Maurer, Mass Chorus
Zauber der Liebe, J. Herbert, Salamander, Galveston
Das Deutsche Lied by P. E. Schneider, Mass Chorus
and Orchestra
Das Einsame Roeslein, by Hermes, Gennania, Brenham
Phantassie, Die Zigeunerin, by Balfe, Orchestra
PART II
Siege sfeuer by Rheinlander, Mass Chorus
Ghor aus Ernani by Verdi, Mixed Chorus, Austin
Potpouri, ATda by Verdi, Orchestra
Wie hab ich sie geliebt by Moehring, Frohsinn, Dallas
Schaeferlied by Eckert, Mass Chorus
PART in
Leichte Cavallerie by Supp, Orchestra
Muttersprache by C. Kuntze, Beethoven, San Antonio
Bundeslied by F. Lachner, Mass Chorus and Orchestra
Song by New Braunfels Maennerchor
Fackeltanz No. 3 by Meyerbeer, Orchestra
Here were present for the last time the organizations from
New Braunfels, Comfort and other towns further west, as
they had formed the "Mountain Singing Union/' which has
persisted to the present day. The Austin program was also
marked by the presence for the first time of organizations from
Dallas and Brenham, and the promise of participation by the
Houston Maennerchor.
From this time on the meetings revolved between Dallas,
Galveston, Houston, and San Antonio. The first at Dallas
was in 1883. At the twentieth held at Houston in 1894, three
Anglo-American groups participated for the first time. These
were the "Musical Union" of Austin, directed by Carl Besserer,
also director of the Austin Saengerrunde; the "Quartette
Society*' of Houston, and the "Quartette Society" of Galves-
ton. Only Texas musicians played in the orchestra or
took part as soloists.
The presence of the Anglo-American groups is an evidence
of the gradual fusion of interests which had been going on
in the larger cities. In Houston an organization known as the
(97)
Music in Texas
Philharmonic Society was established as early as 1872 by Mrs.
Lucy Griinewald; this was composed of from thirty to forty
mixed voices. Mr. Grunewald had a music store in Houston;
their granddaughter Lucy Hickenlooper, later known as Olga
Samaroff, is a pianist of note and the wife of Stokowski of
the Philadelphia Symphony. In 1885 the Houston Choral Club
was organized for the purpose of giving musical plays and
light operas. In 1894 the gentlemen of that city organized a
male quartet club which functioned until 1915; Anton Diehl
was the first director and H, T. Huffmaster the last. The first
woman's singing society was the Treble Clef, 1895-1900, which
was followed by the Woman's Choral Club, active for many
years.
THE WOMAN'S CHORAL CLUB, HOUSTON
Even before the formation in 1877 of the second German
singing society in Austin, Mrs. Fanny L. Crooker, director
of the choir of St. David's Episcopal Church, had organized a
singing group which she directed until her death in 1886. In
1888 the "Musical Union" was formed; this lasted over a
decade, but directed its efforts largely to the production of
opera. Noteworthy was the presentation of Mendelssohn's
Zx>refezV first given in Vienna in 1881, and in this Texas town
only a few years later. The Turn Vercin also maintained a
singing society of which L. Klappenbach was director for many
years.
At Dallas the Musical Society, organized as early as 1876,
(98)
Singing Societies in Texas
included the most acocomplished vocalists; it was functioning
in 1 883 as the Ladies Musical Society. Galveston had a Phil-
harmonic Society in 1874; and the Mozartina and Island City
Glee Clubs, under the direction of Profesor H, Lebennan, also
included singers of other nationalities than German.
After the turn of the century the Saengerfests continued
uninterruptedly until 1916, that at Houston in 1913 being
especially noteworthy in that the selections for the mass
choruses were entirely by American composers, two of whom,
Hans Harthan of Austin and Frank Renard of Sherman, were
citizens of Texas. Twenty-one singing societies were present,
the whole being directed by Arthur Claasen, who was shortly
afterward engaged as director of the Beethoven Maennerchor
of San Antonio and the 1916 Saengerfest. For this occasion
soloists were imported, but the orchestra, largely of local tal-
ent, had been organized well in advance. Joined with the
men's voices was the Mozart Society, a San Antonio group of
women's voices of superior quality. With great brilliance the
thirtieth Saengerfest was celebrated. That occasion marked
the greatest height to which the German singing societies in
Texas attained, either in point of number of societies, voices,
or excellence of performance.
Another year and the United States was at war with Ger-
many. The German singing societies, composed largely of
men, were necessarily disbanded. The effect of public senti-
ment during the war on German music has already been point-
ed out. The anti-German feeling which persisted after the
treaty of Versailles prevented reorganization for a time; in San
Antonio a group was brought together in 1921 in order to give a
concert for German relief. The next year a small group as-
sembled at Austin in an attempt to resuscitate the old German-
American spirit; the results were disheartening. Not until 1929
was a Saengerfest held; this meeting in San Antonio was at-
tended by the survivors of the Beethoven Maennerchor, the
Liederkranz, and a mixed chorus of the Sons of Hermann from
San Antonio; groups from New Braunfels, Austin, Taylor,
Houston, Galveston, Schulenberg, and Uhland; some 300
voices under the direction of H. Jacobson of Rochester, New
York. In 1932 the Mountain Singers, then a flfty-one-y ear-old
(99)
Music in Texas ,
representative of the Germans from New Braunfels westward;
gave a concert in San Antonio,
In all of these meetings the fact that young blood was lacking
was all too apparent. Either because they knew no German,
bad lost contact with the past of their ancestors, or because
the new age had left no place for such a form of recreation, the
young man no longer slipped in beside the father. Although
the older men have held on, some of the organizations have
already ceased to exist. Clearly the death knell of the Ger-
man singing society has been sounded, and it can be only
a few years before that institution will have become only a
tradition in the musical annals of Texas; for in a short time
few records will remain of one of the strongest factors in the
cultural development of the state*
A survey of the activities of these various groups brings out
a few facts of special interest. One of these is the very slow
growth of organizations of women's voices. After 1880 a
mixed chorus was usually organized in the city which was to
entertain the next Saengerfest; this included all singers will-
ing to take part. But separate organizations of women's
voices intended to be permanent were rare among the Ger-
mans* The Mozart Society, organized by Arthur Claasen as
a sister group to the Beethoven Maennerchor, is one of the
few survivors. The use of school children for choral purposes
dates from 1891, when the children of Comfort sang four-part
songs at a meeting of the Mountain Singers. At Houston in
1913 and at San Antonio in 1916 and 1929 large groups of
public school children joined in the choruses. In the last meet-
ings, members of the high school orchestras have taken places
in the chairs of the Saengerfest orchestra.
In these children, whose sole instruction is that given in the
public schools of Texas, lies hope for the continuance of choral
singing in the future. The old traditions, the old spirit of com-
radeship within the small group of kindred spirits linked by
ties of blood and language, have gone. In their place something
new must be created; perhaps it is already in the making. But
at the point in the road at which the new branches off from the
old, a backward glance offers the conviction that during al-
most a century the German singing society served a most
worthy purpose and deserves no small place in the history of
musical culture in Texas.
(100)
CHAPTER XIII
The Opera in Texas
REMOTE as Texas was from the musical centers of North
America before the building of railroads, it is surprising
\vith what speed operas traveled in whole or in excerpts to her
borders. One of the most popular ballads from Fra Diavolo,
first produced at Paris in 1830, was sung on the Texas stage in
1838 and passed at once into the permanent repertoire of the
singers of the state (See Figure 36).
Through the next two decades bits of opera of various types
crept into Texas in some form. The March from Norma
was popularized though the music of the Mexican War.
Among the operatic excerpts which reached Texas before the
Civil War, were songs from Fry's Leonora; Bellini's Sonnam-
bula; the Postillion of Lonjumeau; Cinderella; Bishup's Guy
Mannering; and Balfe's Daughter of St. Mark and The En~
chantress, in addition to the well known Bohemian Girl and
Wallace's Maritana.* In addition to the solo selections, duets,
trios, and choruses from these and similar operas were known
in Texas almost as soon as in New Orleans, where the French
opera reigned supreme.
The first company organized expressly for opera which
played on Texas soil was the German opera company which
came to Galveston from St. Louis in 1 856 and gave at Lone Star
Hall acts from several operas to make up a performance. The
first opera given in Texas was in German. During the same
decade Galveston was visited by the French opera, and in 1857
there was an Italian opera company from Mexico at Browns-
ville, which is not surprising as the Mexicans had, from their
first contact with Italian Opera in 1833, shown themselves en-
thusiastic devotees of that type. These auspicious beginnings
of opera in Texas were rudely cut short by the Civil War.
Late in the sixties operas were again being given, both by
local talent and visiting companies. In 1869 the Marie Fred-
erici company gave Martha, Fra Diavolo, and the Magic Flute
*Copies of these, brought to Texas largely before 1853, are In the
possession of the writer.
ON YONDER ROCK RECLINING
J N .Hf^^FFr
Ofl yon-der rock re . din - ing. That ce ad awar - thy Sana. heiold; Fort. Ida hands his
car . line hold, Tfc hit beat Wend af old! This way
. Ka - ing, H
fr=^=^
^
"g '
*q?
car - let plume wave* o'er ha bwnr, And hi* rel - ret cloak hangs low, Playing in gnu* - ful
I
3
g
E'en while the Hoc^ is teat . ing, A-fer hear Echo
m
pert - u& PuCTotot Diaotol Diarobl Ttem
- Ja ' 1
(102)
Although his foes waylaying
He fights with rage and hatecombin'd.
Towards the gentle fair they find
He's ever mild and kind:
The maid too heedless straying
(For one we Pietro's daughter know)
Home returns full sad and slow,
What can have made her so?
Tremble! each one the maiden meeting
Is sure to be repeating,
Diavoio! Diavolo! Diavolo!
Diavolo. While thus his deeds accusing,
Let justice too at least be shown;
All that's lost hfie, let us own,
Mtyn*t be his prize alone:
Full of his name abusing.
Perchance some young and rustic beau.
Whilst with love he feijrns to glow
At beauty's shrine bows low !
Tremble! each sighing lover dread,
For of him more truly may be said,
Diavolo! Diavolo! Diavolo!
FIG 36
First operatic selection sung on the concert stage in Texas
(103)
Music in Texas
at Houston, and that same year Partido's Mexican troupe:
visited San Antonio, Austin, New Braunfels, Seguin, Brenham,
Houston and Galveston. Selections from opera were fre-
quently offered on concert programs. At Austin, at a benefit
concert, the Overtures to Fra Diavolo and Wiliam Tell were
given, and among the songs were "Tyrant Burst thy Chains"
from the Barber of Seville; an air and chorus from Masaniello;
"Sweet Spirit Hear My Prayer" from Wallace's Lurline;
"Through yon Window" from Lucrecia Borgia; "Ernani, Res-
cue Me" from Ernani; and "111 Sustaining the Encounter"
from // Trovatore. Shortly afterward the first scene from
Don Giovanni and the first act of Der Freischutz were given
with a large orchestra and chorus under the direction of Julius
Schutze.
Before 1870 the state boasted only theaters and music halls,,
but vvith the erection of the Tremont Opera House in Galves-
ton in 1871 the era of the opera house as the home of the
best in drama and music begins. In the eighties Dallas, Austin
and San Antonio each had an opera house; all of these have
gone; even a later one in Austin is today a moving-picture
house. At the Tremont in Galveston in 1872 an operatic con-
cert was given at which selections from // Trovatore, Lucia, It
Puritani, and Ernani were given with orchestral accompani-
ment under the direction of Mr. Maddern. The first produc-
tion in this class by local talent was in 1876 when "The Feast
of Roses,'* an operetta in three scenes, the text by Mollie
Moore Davis, later famed as a poet, and music by William
Kepler, was presented and favorably received. Dallas' first
opera with an orchestra was Martha, directed by Professor
Otten at Field's Theater on February 12,1875; // Trovatore
followed shortly with the leading roles filed by Miss Ella Rives,
Dr. J. W. McGee, Mrs. Ben Ward, Major Obenchain, and
Mr. Hess, while the best amateur talent of the city figured in
the choruses and orchestra. Saulsbury's "Troubadours" gave
the comic opera Patchwork there in 1876, and continued to re-
turn to Texas every year until late in the nineties. The ban-
ner year of musical life in Dallas before 1900 was 1883, ~in
which the new opera house, with a parterre and galleries seat-
ing 1200, was opened with a performance of lolanthe, a Gil-
bert and Sullivan success. Here opera, with the best of the
drama, flourished until the building was destroyed by fire in
(104)
The Opera in Texas
1901. A new one at once took its place.
The extent to which the "Little Opera/' if we may so parallel
the popular use of the term "Little Theater/' flourished in Tex-
as, even before the coming of the railroads, is generally little
realized. Yet in a town as small as Austin, opera by local
talent was no rare event. From the return of William Besserer,
born there in 1850 but sent to Germany to study during the
Civil War, dates a period in which some group of singers was
constantly busy rehearsing or giving opera. Many of the
scores used are now in the possession of the writer: among
these are Olivette, Nanon, Chimes of Normandy, Maid Marion,
Robin Hood, Czar und Zimmerman, Princess Ida, The Pretty
Chanticleer, Sonnambula, Love's Vow, Nachtlager in Gra~
nada* Stradella, Martha, Mikado, Pinafore, It Trovatore, and
Faust. The orchestra was drawn from local musicians, occa-
sionally assisted by a few from Houston or San Antonio, In
the main, though, Austin is typical of the small Texas town
with a substantial German population: it created its own amuse-
ments, and one of the tavored foims was opera.
Another group of organizations that sponsored light opera
with local talent was made up of the Turner Societies. This
practice was followed in both large and small communities.
the Turners thus contributing to the general culture of the
group. One of their functions was the promotion of song
among the younger members, and these performances fur-
nished a definite end toward which to work. In San Antonio,
the Turner group contributed not only the performances but
the main theater, for Turner Hall, which occupied the site of
the present Brady Building, was for more than thirty years
the center of drama and music in that city. The Casino had
a small stage on which operas and operettas were presented,
largely by the German element.
The extension of railroads to San Antonio early in the eight-
ies made it possible for opera companies of national fame to
reach both that city and Austin. During the season of 1887-
88 we find the Carleton Opera Company and that of Emma
Abbott booked; the following year the Faust Opera Company
and Campanini's troupe gave performances in both cities after
a series in Dallas. It was these towns, with Houston and Gal-
veston the ones that entertained the Saengerfest that were
usually visited by touring companies.
(105)
Music in Te r xas
The practice of having a few visiting opera companies each
year give one or more performances continues to the present
day, but the practice of depending on local talent has become
more and more general among the non- German population.
Bits from the musical annals between 1915 and 1919 will illus-
trate something of this trend, although war years can scarcely
be regarded as typical* In May, 1915, Martha was given at
Plainview; Pinafore at Amarillo in January, 1916. In March,
came the Boston opera with Pagliacci, Butterfly, and L'Amore
de tre re to Dallas. In April, Carl Venth's Fair Betty a comic
opera was given by local talent in Fort Worth. In Houston*
Van Hoose formed an operatic society to give Cavalleria, Mar-
shall presented the Egyptian Princess; Amarillo repeated Pina-
fore. In October the Ellis grand opera company gave Carmen
and // Trovatore at Fort Worth; in the following January the
Boston Company, Faust, Iris, Atda at Dallas, and Atda and La.
Boheme at Austin. In 1917 Faust was given at Fort Worth
by local talent, while a community opera company at Waxaha-
chie gave Priscilla, and Faust and Lucia were given at Houston.
Creatoress company gave Cavalleria and Pagliacci at Waco
early in 1919; in June the Mikado was reported from Cleburne;
the Scotti company gave Cavalleria and L'Qraculo at Dallas;
and the Chicago, Aida, Butterfly, and La Boheme at Fort
Worth. In that same year Rafaelo Diaz, the son of a San An-
tonio cigar manufacturer, was engaged to sing at the Metro-
politan, and shortly afterward Josephine Lucchesi of the same
city was starred by the San Carlo Company.
Since 1920 the disconnected efforts to support opera have
fused to some extent, especially in San Antonio, Dallas, and
Houston, in an effort to develop municipal opera. In general
the traveling opera company as a feature of musical life is fast
disappearing. All indications point to the future development
of opera through sound pictures and the establishment of munic-
ipally-financed productions through the use of local talent
for at least the minor roles and the chorus.There is no ques/-
tion that the raw material is at hand; it only requires training
and wise direction. As more capable teachers and directors
control the field, there seems small doubt that the opera of
the future in Texas will be sung either by international stars
in sound pictures or by Texas singers*
(106)
CHAPTER XIV
The Symphony Orchestra in Texas
THE first steps toward the development of the symphony
orchestra in Texas are to be sought in the records of the
German singing societies, for it was the need of an orchestra as
the background for a successful Saengerfest that led to the
formation of larger instrumental groups in various parts of
the state. While the first programs of these singers were en-
tirely unaccompanied, such conditions did not endure long;
even by 1 855 the piano was substituting for the orchestra. But
not until 1877 did a group of instrumentalists appear; in that
year Mr. Zawadil gathered thirty-four players at San Antonio
for the performance of orchestral music at the Saengerfest;
they gave the overtures from The Bohemian Girl, Martha,
and Nebuchadnezzar by Verdi, and played the accompani-
ment for Fischer's Meeresstille and Rossini's Stabat Mater.
From this date, the orchestra, either local or imported, was
regarded as an indispensable adjunct. In 1879 Austin brought
an orchestra from New Orleans, which assisted in a pro-
gram under the direction of Walter Tips. This prac-
tice of engaging soloists and orchestra from larger cities did
not meet the approval of the director of the twentieth Saenger-
fest at Houston; he selected only Texas musicians to play in
the orchestra or sing the solos. His example was not follow-
ed; when the twenty-ninth Saengerfest was held at Houston
in 1 91 3 the St. Louis Symphony orchestra with fifty-five men
under Max Zach was imported.
This demand for an orchestral group united local musicians
who afterwards held together as a body for longer or shorter
periods. Groups from the different towns were sometimes
united with a few specially imported players for some of the
Saengerfests, By the late eighties the larger towns that
entertained the Saengerfest had developed groups of from
eighteen to thirty men, who played together with some degree
of regularity. In Austin, Herzog, who was later succeeded
by Besserer; in Galveston, Zawadil for a time; in Dallas,
Music in Texas
Kreissig; and in San Antonio, Zawadil, William Marx and
Carl Beck directed groups that played music of good com-
posers. The 1885 Saengerfest program at Houston included
the Tannhaiiser Overture of Wagner; and other music of
symphonic proportions found its way to the Texas public.
Still it was not until after the turn of the century that Texas
turned seriously to the business of developing and support-
ing a symphony orchestra. In San Antonio, the instigator
seems to have been Mrs. Eli Hertzberg, who saw in Carl
Hahn, an able musician, one suited to such a purpose. Under
his direction the San Antonio Symphony Orchestra was or-
ganized in 1904 and continued for some years with a certain
degree of success, In 1914 Hahn succeeded to the post of
director of the Arion Singing Society of Brooklyn, vacated
by Arthur Claasen who accepted the directorship of the
Beethoven Maennerchor at San Antonio. At once the new-
comer took up the fallen reins. Aided by Mrs. Hertzberg
and a committee of San Antonio women, Claasen gathered
around him the best players of orchestral instruments, both
men and women; he augmented his forces for the concert sea-
son with imported professionals for oboe, bassoon, tuba, double
bass and tympani. In 1914-15 he gave eight concerts, and the
next season also proved a success musically if not financially.
At its close the ladies composing the board of directors selected
another director for the orchestra Claasen had so painstak-
ingly organized and trained; he himself organized the Phil-
harmonic Symphony Society, and continued for a time to
furnish San Antonio with symphonic music of a high type.
An able director and competent musician, he nevertheless
lacked the business ability demanded of a manager of such
a project. At the end of the season he was forced to abandon
the field, leaving it to Julian Blitz, who conducted the San An-
tonio Symphony from 1916 until 1922. After paying a defiicit
of some $18,000, the managing board then found it impossible
to secure adequate advance support. Since that time there have
been resuscitations of the organization, but none permanently
effectual*
(108)
The Symphony Orchestra in Texas
The Dallas Symphony* can be traced indirectly back to
Hans Kreissig, who came to that city in the late eighties, and
directed string ensembles around the opening of the century;
but directly to Walter Fried who in 1911 founded the Bee-
thoven Symphony Orchestra, which boasted forty players. Carl
Venth was secured as director, a post he filled until 1914, but
FIG 37
THE DALLAS SYMPHONY ORCHESTRA IN ITS EARLY YEARS
as in San Antonio, the undertaking proved expensive for its
promoters. In 1918 Mr. Fried again organized a group, the
Dallas Symphony, which gave concerts, using the local musi-
cians as soloists* This organization continued until 1924 ,
when he declared a sabbatical year, in order to mature future
plans. Instead, he died suddenly in 1925.
His associates, however, decided, to carry on. Through the
persistence of Arthur Kramer, the organization was continued
under the directorship of Van Katwijk, the first concert being
given in December, 1925. Until the present day, the orchestra
has been maintained on a profesional basis. Among its offer-
ings have been Respighf s "The Pines of Rome/* Kalinnikov's
*The facts here briefly summarized are treated more extensively in
Robert Marquis', "The Development of the Symphony Oretiestra in
Texas" (Austin, 1934), unpublished*
(109)
Music in Texas
G Minor Symphony, the Second Symphony of Howard Han-
son, Honegger's "Pacific 231," Polish dances of Tansman,
Ravel's Bolero, "Mother Goose" suite, and "La Valse"; Doug-
las Moore's "Pageant of P. T. Barnum," a movement from
a Mahler symphony, and a variety of pieces by Albeniz, De
Falla, Debussy and Sibelius. P. G. Van Rooy's "Piet Hein,"
a Dutch rhapsody, was given its first performance in America
in 1927 and was repeated in 1931, Wagner and Tchaikovski
music has been given in the profusion demanded by audiences
of today.
The Houston orchestra dates from 1913 when Julian Paul
Blitz, a Dutch cellist of ability, took charge* He conducted
there until called to San Antonio to take over the organization
Claasen had built up. In 1916, Paul Berge succeeded, but
after some years the orchestra was disbanded. In 1931 Alle-
sandro effected an organization; the following year Nespoli
was imported from Italy by Mrs. John Wesley Graham as
director of the Houston opera and orchestra; besides, E. Van
Hoose was directing another group known as the Little
Symphony. When the present director, Frank St. Leger of
the Chicago Opera, took charge in 1933, the Nespoli organi-
zation was shattered, while the Little Symphony assumed a
less pretentious role. The Houston Symphony Orchestra, as
now organized, is composed of about seventy-five men; its
program calls for twelve concerts each season. It is supported
by patrons who pay $100 a year, sustaining members at $25
and members at $10*
The Fort Worth Symphony was founded by Carl Venth
in 1915 with forty-five local professionals, but was disbanded
with the advent of the World War when the director became
a bandmaster. In 1924 Brooks Morris reorganized the group
of about sixty players on a half-professional and half-student
basis. During 1933-34 it had approximately seventy-five mem-
bers. Its matinees for school children were especially note-
worthy, but its general usefulness was restricted by the lack
of a suitable hall for performances.
As early as 1892 an orchestral organization was attempted
at El Paso, under the sponsorship of the McGinty Club; but
this group of volunteer players, which never reached symphonic
(110)
The Symphony Orchestra in Texas
proportions, disbanded in 1905. In 1915 P. J. Gustat began
the work of reorganization; in 1920 Anton Navratil conducted;
then the orchestra was again disbanded. At various intervals
under G. M. Buchanan and Ross V, Steele as conductors,
the group was somewhat brought together. H. Arthur Brown
of the Juillard Foundation effected a reorganization in 1930;
this orchestra with sixty people, mostly amateurs, gives four
concerts a season. A junior symphony orchestra directed by
William Black is being prepared to take the place of the present
players within a few years.
While there are traces of an orchestral group in Amarillo
as early as 1904, the present symphony orchestra is the out-
growth of the Philharmonic Music Club, which invited E. B.
Hall to become its director in 1927. In 1932 it emerged as
the American Philharmonic Orchestra Association. Utiliz-
ing the Municipal Auditorium, its fifty-five players, largely
amateurs, give six programs a season, at which guest artists
are usually presented.
Besides the orchestras of the large cities there have been
orchestras denominated "symphony" in various Texas towns
for varying periods. Beaumont had such a group in 1919 un-
der the direction of H. F. Chojnachi; Corsicana in January, 191 7,
was supporting such an organization; one was started in Austin
in 1917 under the directorship of Frank L. Reed, head of the
music department in the University; Waco was under Severin
Frank; but all seem to have expired from one cause or another.
From these meager notes it might seem that Texas is hope-
lessly backward in developing and supporting orchestras of
symphonic proportions, but when contrasted with other older
states her efforts are not to be despised. There are only
four really great orchestras in the whole United States,
the New York Philharmonic, the Philadelphia, Boston, and
Chicago. Twelve other cities maintain organizations of lesser
rank Atlanta, Buffalo, Cleveland, Detroit, Cincinnati, Denver,
Kansas City, Los Angeles, New Haven, St. Louis, San Fran-
cisco, and Seattle; but these are all fairly young, and most of
them have lived through periods of vicissitudes such as the
Texas orchestras have experienced. None are entirely sup-
ported through public funds.
During the period of evolution of local groups, many of
(HI)
Music in Texas
these older orchestras have visited Texas and furnished inspi-
ration and incentive. In 1916 the New York Philharmonic
made a tour of the state; in 1917 the St. Louis; and in 1918
the Minneapolis Symphony Orchestra paid a visit* In 1920
the Chicago Symphony visited Dallas and the Cincinnati,
Houston; in 1921 the New York Philharmonic returned; and
in 1922 Rudolph Gans was in Dallas with the body from St.
Louis. This routine has largely been maintained since, one or
more of the older organizations visiting at least some part of
the state each year.
The future of the symphony orchestra in Texas lies largely
in the high schools which, with their band masters and orches-
tral directors are introducing the children in their plastic years
to the instruments whose mastery is essential to the maintenance
of such an organization. While it may be years before the
state can give really artistic performances with local talent,
the way has been opened; and in the future the cost of main-
taining symphonic orchestras in Texas will be brought within
the reach of the average city through the employment of
trained local musicians*
(112)
CHAPTER XV
Music Education, 1914-1936
WHILE music continued to hold an important place in the
curriculum of the private institutions of higher learning
in the state, in the University of Texas, established in 1883,
music had no place. Only through persistent effort on the
part of a few individuals, notably Dr. W. J. Battle, a member
of the faculty, was music, for the first time, made a part of the
curriculum in 1914. Three courses, one each in harmony, his-
tory of music, and analysis, were offered. The response was
immediate; enrollment increased; the teaching staff was en-
larged; new courses in public school music were added;* and a
private institution to give technical instruction under univer-
sity supervision was authorized. In 1922 admission credit was
granted for courses in music pursued in high schools. But
soon afterward there was a general slump in the enrollment,
due perhaps most directly to the personnel of the teaching staff;
difficulties both within and without the institution led the au-
thorities to look with disfavor upon departments with "tem-
peramental" faculties; finally, in 1925, when the university
budget had to be trimmed to meet legislative appropriations,
the school of music, with others that had given rise to admin-
istrative problems, was eliminated.
This experience would suggest to those unfamiliar with the
situation that Texas was not yet ready for a real school of
music* Other evidence proves such was not the case. The
College of Industrial Arts, established at Denton in 1906 for
women only, had built up in the intervening period one of the
largest departments in the South, In 1919 the legislature ap-
propriated $150,000 for a music building. In 1921 the school
leported an enrollment of over six hundred students and a
faculty of twenty, actually the foremost in the South. Its growth
has continued with the exception of the depression years. The
school has drawn, in many instances, students who would have
*Representative of the University taste in music is the Communi-
ty Song Book issued in 1918.
Music in Texas
gone elsewhere, but were attracted by the facilities offered for
the study of music. "What this school, now known as the Texas
State College for Women, has done, the University of Texas
might have far outstripped, had the school of music been under
competent direction. A movement is on foot, with the opening of
the centennial year, to bring about the re-establishment of a
school of music of the first class in connection with the lead-
ing educational institution of the South.
The private music teachers of the state were meantime awak-
ening to some of the problems that began to threaten their fu-
ture. As the public schools took over the teaching of music, the
status of the private teacher was menaced, for with the intro-
duction of the credit system in the schools, no child wanted to
take anything which did not "count." Hence arose the problem
of securing credit for music studied outside of the public school
with private teachers; the solution depended apparently upon
the establishment of some type of standardization among the
teachers as yet untouched by the certification laws of the state.
Around 1915, San Antonio, Dallas, and Austin teachers formed
local organizations; and in that same year a new state organiza-
tion was formed at Dallas; this is still functioning more or less,
actively according to the leadership of its executives. In 1917
when the United States Bureau of Education approved tbe
accrediting by high schools of work done under private teach-
ers, the smaller Texas towns quickly fell into line: Beaumont^
El Paso, Port Arthur, and Galveston soon secured recognition
from the school authorities for instrumental work done under
private teachers; more towns added special teachers and super-
visors; and instrumental music, in the form of bands and or-
chestras, was slowly added to the regular courses offered.
The inclusion of such courses in high schools introduced new
problems of accrediting, both by the high school and the high-
er institutions to which the students proceeded. The accredit-
ing of high school work for college entrance, for many years
in the hands of a committee appointed by the University of
Texas, was taken over in 1917 by the State Department of
Education, to which school administrators naturally turned for
assistance in regard to curriculum, accrediting, and 'standard-
izing of music. In an effort to solve the many problems re-
lating to music, the State Superintendent, at that time Miss
(114)
Music Education, 1914-1936
Annie Webb Blanton, who had no appropriation with which
to employ a Music Supervisor, appointed as one of her rural
supervisors Miss Elfleda Littlejohn, formerly music supervisor
in Galveston, and delegated to her the organization of music
in the schools. A course of study was prepared, some stand-
ards of accrediting theoretical courses were worked out, and
a beginning made at standardizing the institutions in the state
which professed to teach music. During fifteen years the State
Department, without any special funds for such work, has
attempted to carry on a general supervision of the music taught
in the schools; but as there has been no single individual in the
department, during much of the time, who was either a theoret-
ical or practical musician, the results have been somewhat
dubious. Each of the 246 city supervisors of music listed in
1 925 was a law unto herself; each reigned supreme in her small
realm with none but the local superintendent, who usually
knew nothing of music, to say her nay. The courses of study
issued by the department were generally the work of some
single individual unconnected with the department, and repre-
sented the views of an individual rather than the ripened judg-
ment of a group of experienced supervisors.
The first attempt to formulate a music program for the rural
and elementary schools of the state is that of L. A. Wbods,
Superintendent of Public Instruction, who hopes to have every
child taught at least ten songs a year; these are to be sung in
large choral groups in the larger cities during the Centennial
year. The basis of this program, instruction through the use
of phonograph records, hardly appeals to the trained music
teachers and supervisors of the state, for they realize that while
such a program may introduce music into the rural school and
the classroom in which the teacher is incompetent to direct
singing, it cannot do anything more than lay the most rudimen-
tary foundation for the rural child, who still will not be on a
level musically with those who have had even a year of in-
struction in a good school system. A beginning is being made
to bring music within the reach of every child; but no intelli-
gent concerted program of music study for the better schools
(115)
Music in Texas
of the state has been worked out* There is still no real leader-
ship musically emanating from the State Department of Edu-
cation. This will probably come only after a legislative appro-
priation for a State Supervisor of Music makes possible the
appointment of a thoroughly trained and experienced official*
Another approach to mass instruction in music through the
use of sound-reproducing machines, but from the standpoint
of appreciation rather than production, was made through
the music memory contest. Instituted first in 1906 by C. M.
Tremaine as a means of interesting his own children in good
music, the idea caught the attention of educators, and soon
contests were held in various cities of the United States* The
first noted in Texas was in 1919, when one was planned by
Mrs* Charles Norton and directed by Miss Alva Lochhead,
supervisor of music at Fort Worth* By 1922, 36 towns in
Texas conducted such contests as part of the public school
work in music. That same year Miss Henrietta Pyle, super-
visor at Wichita Falls, introduced the plan to the whole state
through the Inters cholastic League, a branch of the Extension
Division of the University of Texas. In 1923 a State contest
was held. From merely memory work, this contest was ex-
panded to include recognition of theme, form, and the tone
of the leading orchestral instruments. For this part of the con-
test unfamiliar records were sent out in sealed packages to
the supervisors of the 254 county contests, at their request. To
assist the teacher who lacked experience or material, a test
service was instituted by which a new set of records is sent
each week to the schools subscribing. In this way both teacher
and pupil have an abundance of material suitable for training
in music rather than in memory. In 1932 a choral singing con-
test, the pioneer of the plan now sponsored by the State Depart-
ment, was introduced. As a basis for this contest phonograph
records served; the songs were very simple, as befitted the
rural schools that had previously had no music of any kind.
There was an immediate response and the demand has grown.
Although teacher-training courses in music have been of-
fered by all the state-supported teacher-training institutions
except the University of Texas, none of of these schools can
(116)
Music Education, 1914-1936
as yet maintain the standards of a first-class music school.
Among the reasons for this are probably the mad rush to in-
crease enrollment regardless of type of student; lack of prep-
a ration in music on the part of college students who would
like to teach music; and the difficulty of obtaining salary ap-
propriation that would attract the best teachers of the subject.
In the public junior college, practically no music courses of
value are given; and only a few of the private schools of this
type are doing standard work. Three denominational colleges,
Southern Methodist University at Dallas, Baylor University at
Waco, and Our Lady of the Lake at San Antonio, are the
only music schools in the state authorized by the National Asso-
ciation of Music Schools to confer degrees in music. The In-
carnate Word College of San Antonio will probably be ac-
cepted in 1936; Simmons College is on probation. According
to the rating of the State Department of Education, only two
private institutions, the Texas School of Fine Arts at Austin
and the Fort Worth Conservatory, are recognized as giving
courses leading to the special music certificate. Under the
laws of Texas, any teacher holding even a second-grade cer-
tificate can teach music without ever having had a course in
the subject, but the holder of a special music teacher's certifi-
cate, although required to have practically two years of gen-
eral college work, is not authorized to teach anything else.
The private teacher of music is today a relic of an era past;
elementary music will be taught in the future in schools to
groups, and practical music will become a laboratory course in
high schools and colleges. Those able to sense the educational
changes that are taking place realize that, during the Cen-
tennial year, there are three goals toward which those inter-
ested in musical progress in Texas should be striving. The
first of these is the establishment of a music school of the first
class in connection with the University of Texas; the second,
a legislative appropriation and authorization for the employ-
ment of a competent State Supervisor of Music; and third,
the inclusion, in the requirements for any teacher's certificate,
(117)
Music in Texas..
of at least one course in music.* With these secured, the
load is open for some real progress in musical education in
Texas.
*As tails goes to press, the news* comes that this requirement is Lo
be made effective in September, 1936, by order of the State Superintend-
ent of Public Instruction, who, although not himself a musician, has
shown a keen realization of the value of music in education. There
is every probability that tthe Board of Regents of the University of
Texas, supported by the State Federation of Clubs, Music Clubs and
various civic organizations, will include a School of Fine Arts in
its 1937-39 budget requested of the State Legislature.
(118)
CHAPTER XVI
Other Agencies Cantribuing to Musical Progress
IN awakening an interest in music in the general public, prob-
ably no single agency has been more active and effective than
the women's clubs of the state. First organized about 1885,
these groups interested themselves at first solely in the study of
literary subjects; but by 1897, when the State Federation of
\Vomen r s Clubs was organized, something of their potentiality
in other fields was beginning to be realized. Some of these clubs
included music on their programs in the early days, but around
1 895 groups whose distinct purpose was music study came into
existence. As to which is the pioneer, perhaps no one can an-
swer defiinitely. As a result of the study of a Musical Literary
Course prepared by Mr. Derthick of Chicago and introduced
into some of the larger towns and cities, a music club was or-
ganized in Houston in 1895 by Mr. Sandy Mason, a violinist;
Mrs. Edwin B. Baker was president, and Mrs. lone Allen
Peden and Mrs. Baltis Allen were among its members. Nav-
asota formed a similar group in 1899 with Mrs. Laura Black-
shear as president and Miss Julia Owen among the members.
Until 1915 such music clubs were either separate entities or
members of the State Federation of Clubs, which had a Music
Department; in 1915 these formed the State Federation of
Mucic Clubs, but still retained membership in the General Fed-
eration. In 1921 there were seventy-seven clubs so federated,
in addition to some who retained membership only in the Gen-
eral Federation.
By 1925 the duplication of fees and other problems led to
the complete separation of the two groups. At the opening
of 1936 there are over four hundred clubs who are members of
the Music Federation and many that are members of the
General Federation; some are pursuing courses prepared by
the Extension Division of the University of Texas or other
educational institutions; and there are a few entirely independ-
ent units. The total membership of these various groups,
Music in Texas
whose common purpose is the study of music and its general
advancement in the state, is such that no thinking person can
fail to realize the influence they can exert when they wish*
Through the programs of the members, sponsorship of guest
artists, the encouragement of music in the public schools, the
development of community and municipal music, these organi-
zations have exerted an incalculable influence. The large
number of concerts sponsored by clubs may be seen from the
calendar of the 1920-1921 season in the Appendix. The large
constructive leadership these clubs should be of great influence
in the future.
Among the professional organizations in the state, the most
powerful should be the music section of the State Teachers
Association, in existence since 1886, but it has not exerted
itself in proportion to its ability. Joined with it should be the
membership of the Texas Music Teachers Association, which
has functioned since 1915, but whose membership is largely
made up of private teachers of limited perspective as regards
the whole music program of the state. The Texas Band Mas-
ters Association formed in 1922 has been active; credits have
been secured for band and orchestral work in the schools, and
municipal efforts have been given support. Two other pro-
fessional groups, the Texas Chapter of the American Guild
of Organists, organized at Dallas in 1918 and the Texas Chap-
ter of the American Association of Harpists in 1922 suggest
something of progress in both these fields. A Church Music
Conference, held annually at Southwestern University at
Georgetown since 1928, has had as its purpose the advance-
ment of standards in church music generally.
In the field of civic music Texas has made a beginning. Song
leaders and band directors were trained during the World
War; at its close some were employed by various agencies.
The Dallas Municipal Music Commission appointed in July,
1919, while not the first in the country, was the first estab-
lished on broad principles and the first to grasp the aims and
possibilities of such a body and the true character of democrat-
ic musical activities as a public service. This commission has
sponsored the Music Memory Contest, Music Day, Music
Week, a Municipal Chorus of some two hundred voices ac-
companied by the Dallas Symphony, sing-songs in the munici-
(120)
Other Agencies Contribuing to Musical Progress
pal parks as a feature of band concerts, free Sunday after-
noon concerts, and a spring music festival. At first without
any financial appropriation whatever, the body was later given
$5,000 a year, which under careful apportionment has been
sufficient to keep various musical activities afloat. Other cities
have used this body as a model; Forth Worth early estab-
lished a Music Commission; Beaumont followed suit in 1922.
Something of the status of music in Texas in 1924 from the
standpoint of municipal encouragement may be gleaned by re-
plies to questionnaires sent out to the mayors of cities of over
5,000 population by the National Bureau for the Advancement
of Music. The figures do not by any means tell all the facts;
like San Antonio, some cities did not reply; others reported no
money spent for music although they actually had well devel-
oped school music departments, maintained from school rather
than municipal funds. Most of the mayors who replied were
more than favorable to the encouragement of municipal music,
but stated that lack of funds was the strongest deterrent factor,
In the thirty-two towns* reporting, the municipal appropria-
tion for music ranged from nothing in twenty-one, and $60 in
Vernon, to $10,000 in Houston. While only six claimed bands
wholly supported by city funds, all but nine sponsored open
air concerts; some of these were financed by the Cham-
bers of Commerce, by the American Legion, and by joint ef-
fort of the citizens. Some concerts were given by the Army
bands, some by the Junior Rotary and High School bands.
Abilene, with 32 concerts, headed the list in respect to number
given. All towns that had city auditoriums granted them free
for free concerts; others used their high school auditoriums
similarly. Not one town reported a municipal pipe organ, al-
though there was one nl San Antonio and Houston had one
under consideration. No municipal opera was reported, al-
though San Antonio was well on the way to such an institution.
Only Fort Worth reported a municipal orchestra. Dallas, El
Paso, Ennis, Houston and Victoria encouraged community
singing. The smallest; amount refx>rted spent on music in the
* Abilene, Amarillo, Austin, Beaumont, Helton Brownwood, Burk-
bjmiett, Childress, Dallas, Denison, Denton, El Paso, Ennis, Fort
Worth, Gainesville, Galveston, Greenville, Hillsboro, Houston, Min-
eral Wella, Navasota, Paris, Ranger, San Angelo, San Marcos, Taylor,
yexarkana Tyler, Vernon, Victoria, Weatherford and Wichita Falls.
(121)
Music in Texas
schools was $300 at Denison; this was, no doubt, supplemented
by school funds. Outstanding in encouragement of music in the
schools were Beaumont, which spent $52,600, and Dallas,
whose expenditure was over $98,000* Fifteen of these towns
reported music supervisors. Childress was alone in having "no
public school music taught/'
A survey of the status of community music in the smaller
towns that same year showed they were making substantial
progress. 63 places reported 18 bands; 56 towns reported 76
orchestras; 54 supported 75 choral organizations; 32 held com-
munity sings; and 31 sponsored music memory contests. Among
the larger works performed. in the smaller towns (San Antonio,
Houston, Dallas, Fort Worth, Austin and Waco were excluded
from consideration) were: Sullivan's Pinafore, 'Cowen's Rose
Maiden, Gaul's Ruth and Joan of Arc, Dubois' Se^en Last
Words, Stainer's Crucifixion, Haydn's Creation, Mendels-
sohn's Elijah, Rossini's Stabat Mater, Bach's St. Matthew's
Passion, Handel's Messiah, Verdi's // Trovatore and Aida, and
Gounod's Faust.
Other agencies which have promoted music in the various
communities have been the libraries and extension departments*
Until 1915 very few libraries in the state could boast of any
music collection worthy of the name. Between 1915 and 1920
the Dallas Public Library and the Carnegie Library in San
Antonio made some real beginnings; the University of Texas
accumulated a good working collection for the students; and
the smaller educational institutions of the state purchased books
on music suited to the various courses taught. The Extension
Loan Library, a branch of the Extension Division of the Uni-
versity of Texas, began to assemble clippings, pamphlets, and
books to be lent to clubs and individuals over the state. The
Visual Instruction Division added a collection of phonograph
records to be lent to schools and individuals for short periods.
Publications have also served to promote professional pro-
gress and to unite those of common musical interests. Most im-
portant as chronicler of musical activities in Texas have been the
Musicale, later the Southwestern Musicale; its successor the
Southwestern Musician; and the Music News. The first of
jhese, a monthly, established in April, 1915, by A. L. Harper,
served as an organ of the State Music Teachers Association,
(122)
Other Agencies Conttibuing to Musical Progress
the State Federation of Music Clubsj and the Music Merchants
Association. On its pages are recorded -the activities of music
studios and concert halls from 1915 to 1933, After the death
of Mr. Harper on April 4, 1931, its management was taken
over by others more commercially minded; with the result that
its value both as a news organ and as a professional journal
declined. It ceased publication with the second issue of vol-
ume nineteen.
Even earlier the State Federation of Music Clubs, in an ef-
fort to put a copy of its organ in the hands of each member of
every federated club, began the publication of the Music News
with four or five issues a year. It has survived periods of sus-
pension and numerous changes of format.
Although the withdrawal of the clubs' support seriously
weakened the Musicale, its place was taken in 1934 by the
Southwestern Musician under the general direction of Clyde
J. Garrett of Fort Worth. With June, 1936, it had reached the
ninth issue of volume two.
The larger dailies of the state have devoted special pages
of their Sunday editions to matters of musical interest.
The greatest disseminating agencies of music itself, through-
out Texas as throughout the world, are the sound-reproducing
machines and the radio, which have brought the best in music
within the reach of the poorest home. Before the advent of
the broadcasting era, the phonograph of one type or another
had entered almost every home and school. Recording was
improved until about 1924 whole operas were available on
records. Excellent recordings of the best of choral works
and symphony made possible instruction in the schools of a
type of music hitherto unknown. But barely was the apprecia-
tion work well underway in the schools when radio broad-
casting began. From the miscellaneous programs at first sent
out, the amount of both good and bad music increased amaz-
ingly. From the time of the establishment of the two national
broadcasting chains, music of the best type was available on
some of the programs. Opera over radio from the Chicago
and the Metropolitan Opera House, at first only one act and
later the whole performance; symphony by Detroit, Minne-
apolis, Cleveland, Boston and New York Philharmonic orches-.
tras* and vocal and instrumental solos and ensembles by lead-
(123)
Music in Texas
ing artists were all brought to the home by the magic spark.
In 1922 the Dallas News established the first of the larger
broadcasting stations in Texas, \VFAA, which now broad-
casts the concerts of the Dallas Symphony and some other
local music of the better type, with a great deal that, from an
educational standpoint, might be better dispensed with. But
since it is sometimes better to have a boy reading a poor book
than no book at all, as he is at least kept out of other mischief,
perhaps it is better for the masses to listen to music of an in-
ferior type and perhaps have their taste slowly cultivated,
than not to listen to music at all. At any rate the phonograph
and the radio have revolutionized music dissemination and
instruction; they have done even more than the printing press
did for literature, because it is possible to enjoy music through
these means without even having to learn to read.
(124)
BOOK IV
THE BEGINNINGS OF
CREATIVE WORK
CHAPTER XVII
Texas Folk Music
AS in Europe and other partys of the United States, it "was
necessary for their musical inheritance to be fully absorbed
by the people of Texas before the creative spirit could mani^
fest itself. Not until the years following the Civil War a
period of great spiritual as well as economic upheaval do
we catch the first glimpses of such activity. It is true there
were earlier composers of music in Texas, but they followed
the models of Europe, Mexico, or the Eastern seaboard. They
were musically cultured people; their tendency was to follow
existent models to such an extent that little originality was mani-
fested. As in Europe in the Middle Ages, it was from the
illiterate or working classes in Texas that more or less original
music was to come.
The first native products which showed traces of originality
were the songs of the negro, who seemed to absorb music from
the composite society about him and then to reflect it in a style
distinctly his own. In his music, as in that denominated
"creole," are the Spanish rhythms, the strong syncopations,
snd frequently traces of the Moorish cadences. Its general
character is religious; and yet it is colored strangely by human
relationships and feelings. The language is figurative; the
negro was able to combine his ideas in most unusual ways. The
fact that none of his songs were written left more room for the
creative impulse; new versions, both of texts and music, were
constantly in the making. Most common were the shouting
songs; of a more finished type are the spirituals, -which breathe
on the whole a tone of intense piety and faith. While but few
of these have been transcribed, the material for serious study
awaits another Dvorak to give to it permanency and form.
Other songs of the negro are the work songs; these are
largely connected with rural life especially with corn, cane
and cotton field,*
*"Seek and Ye Shall Find" and the "Boll Weevil Song" in the
Centennial Edition of the Music hour are good exaiaples of these
types.
THE YELLOW ROSE OF TEXAS
TH- * yl_low rose In
:2z
t n& d*rk*y nly me ; SUe
y^g ggs
*o when I lft her, i*
^
lik* *olrolc my Keari r And If I e-^r** find hr w* never more nU ymrt .
ar* tirij^lit as lianiontls,they
sparkle likeituitln^Ybunsfiy *13talxniiyoa*Dir4MaT,a\ii
tt
pyes ar* bright as diaiaonds,tliey
sparkle like ilift tl<w,Yon may bilk ahout jourDeftw-dMjVjMul
^P
V * V\
hell<s of Tennessee.
sin* of Rosa Lee, Bui the yellow ros< o
a-ts the
m
^^-^-
s
sins; nf Rosa Lee, Btit
r rose of Texas 1
^=f
FIG. 38
From the city we have the call of the water boy, the hod car-
rier, the ditch digger. From the convict camp have come many
of the work songs, sung perhaps in former happier days in the.
fields and later adapted to the rock pile or the lumber camp.
(129)
Music in Texas
Nor should the love songs of the negro be entirely overlooked
although these are less characteristic of the race. In this con-
nection it is of interest that the first song to achieve lasting
popularity in which the word "Texas" appeared in the title
"The Yellow Rose of Texas" was an imitation of just such
a song (see pages 128-129)*
"Down on de Rollin* Brazos" is another imitation of a negro
song associated in the public mind with Texas (see pages 132-
133).
While the evolution of negro music in Texas was not radi-
cally different from that in other portions oi the South, another
class gave rise to a specific type, not limited to Texas but which
probably had its origin in that state and 'is certainly most closely
associated with it. This is the music # the cowboys. Follow-
ing the Civil War only one source of income presented itself
to the poverty-stricken landowners the cattle that roamed
the plains. But there was no market for them in Texas; no
railroad linked the Southwest with the cities of the Middle
West; it was necessary that the cattle be driven within reach
of the buyers. Then began the trail- driving; the opening of
routes by which vast herds of cattle could be moved within
reach of marketing centers. Those from Texas have been
celebrated in song and story; the Shawnee Trail over Red River
up through Arkansas; the Chisholm Trail over Red River to
Abilene, Kansas; the Fort Griffin 1'rail to Dodge City, and
the Goodnight-Loving Trail to New Mexico. Over these, vast
herds moved northward.
The life of the cowboy was essentially a life in the open. He
practiced few of the amenities of polite society, but he knew
the vast open spaces. The stars in the sky were close to him;
and he shared to some extent the Indian's instinctive feeling
of awe and respect toward the creator of all he saw about him.
His life was hard; his bed was often the ground; and his "grub"
offered little in the way of culinary dainties. Instead, coarse
bread, beans, and plenty of meat constituted the daily diet.
He was up early; exposed to the extremes of the Texas norther
and the blistering suns of summer, he rode his horse long hours
without feeling fatigue; he kept watch over the herd through
the night. He was employed all the year on the extensive
ranches of southwest Texas. The high spots of ranch life
were the semi-annual roundups one in the spring for the pnr~
(130)
Texas Folk Music
pose of branding the calves and strays; and one in the fall for
the selection of beef for the market. In both cases, cattle were
gathered from far and wide; and large numbers were put
through the ^branding process or were weeded out as unfit.
Following the fall roundup came the slow trail-driving north-
ward*
Separated from society in general as the cowboys were,
they evolved forms of expression of their own, and music was
one of the channels that expression took. The origin of the
cowboy music has been a topic for much discussion. Some
believe the cowboy composed his own songs; but those who
have studied the subject more closely admit that most of the
songs of the cowboy can be traced to old ballads or songs cur-
rent in that day among more cultured people. Once heard and
absorbed by the cowboy, these songs underwent a gradual
"transformation until the version in which they appeared some
decades later is so different from t^he original as to furnish
some justification for those who attribute original composition
to the cowboys. In the main, however, the cowboys, like the
negroes, were creative only to the extent that they absorbed
one type of music so completely that before it became asso-
ciated in the public mind with them, it had been completely
recolored. A comparison of one version of such a song as
"Bury Me Not on the Lone Prairie/ 1 * popular in the eighties,
with the text and music of "Bury Me Not in the Deep, Deep
Sea/' issued in 1850, is sufficient to convince even the most
skeptical that the cowboy song is fundamentally a paraphrase.
Of these songs there are various types. There is the song
'be sang while in the saddle, a rhythmical swinging tune, .often
.set to words associated with cattle. Such is " Whoopee-tee-
yi-yo/'* There is the herding song, sung to lull the cattle at
.night There is the camp-fire song, used purely for his own en-
tertainment; its text is frequently quite unprintable. In a study
of the rhythms of these songs, Newton Gaines, a grandson
"These songs are included in tlie Centennial Edition of the Music
' The cowboy songs are not reproduced in this volume as they are
readily available in John A. Lomax's Co wboy Songs published by
.Macmillan; in the cheap version Songs Texas Sings, and separately
in the artistic settings of Oscar Pox and David Guion.
(131)
'DOWN ON DE ROLLHST BRAZOS
HjH> r-i
f f .
r "!
-
^rr"
F^
r r? Er"fr"fr~fi'
^ mp * 'tf~fy
LDowtf on de roll -in' Bra-zos shore, "Wharde corn-tops al -ways bloom, i
2. ni build for Bose a log- cab -in, Bight up- on de Bra- os shore, An* we'll
S. De Yanlcs an* Bcbs dey boff shake hands, In degrabeyards all o-ber de land. An*
jjtfe? g~ -- r-^ J-'l PFP^
y
v-
mp
^=
8-
t_
J .' fea
- ) 1*
^^^
y
sP~
i
-
bii^*!
"1 F "i
==
l~
i *
%**
PU u 'y i-
rE
goes ter see my Bo - *a dear by de glim - mer ob de moon.
fiothsit by de door in de eve, and list to de al - ma -ga -tor's roar.
eb-'ry-body in de whole ere - a-tlon be - longs to Gideon's band.
De
^
-b ^-f 1 TT
J. ^ b Kl
ft \ \
gmn - tree boat it skims de rib -her, An* I am filled with glee, An 1 my
r bnnt de pos&'m and coon fro'de bot-tom, I gol - ly, we'll live high. Ro-aa'll
nig*r minds his bus -'ness good's & white man, An* good times sure to come, An* I
v ' 1 1 *-
-^ * . *
f s f
-* C - *
-*
? __j f
1 tH
4 i t t
=3=
heart** al - most a bust - in', kasc, I know we both um free,
train de vines all ronn' de cab'n, an'we'll lib dar till we di*
gol-ly,how hap - py Ko-eaan' I will be in our cab - in home.
CHORUS.
=F= 3 =
Oh, Ho - sadear, am dat you? Bont yer-see Fse cum-min*?
L ALTO._ _ ^ ^ fc
^^P
Oh* Ro - eadear, am dat you? Dont yer eee Pse
BASS-
Too
jess sit down an' watch this
Set dis ole boat a ham - din'.
AX-ILj^jJ
^
-g ^ sir p=ir-p J' -J Ji
jess sit down an' watch this nig Set dis ole hoat
a hum - min'.
FIG. 39
of one of the Tompkins group who came concertizing to Texas
in 1850 and settled in San Antonio, says:
The most outstanding quality of these songs, to me, is the rhythm.
This rhythm is almost always that of the Western ho-rse; I have dis-
covered and am able to distinguish three different rhythms and only
three the three gaits of the overwhelming majority of o-ur Texas
horses, the walk, the trot and the lope. . . .
It is true that the music of the cowboy can' usually be traced by
(133)
Music in Texas
the expert musician to some papular song of the 70s and 80s or to
some Irish or English broadside. . . . Yet in almost every case, one
finds that the cowboys have altered the rhythm and melody to suit
Hheir pioneer experiences and feelings, of which the song is the ex-
pression. . . .There are some melodies among the cowboy songs, how-
ever, that I believe have sprung direct from our Western soil. For
instance, I think that the tune of the familiar "Bury Me Not on the
Lone Prairie". ... is imitative of the night noises of the prairie, the
yelp of the coyote bearing the burden.
A second characteristic is its freeness of expression. ..
The cowboy, regardless of calendar age, was a boy at heart. He
was interested in his own experiences, actual and imaginary; and so
a third characteristic of most of his songs is a persistent use of the
first person ['they" being generally replaced by "we"]
A fifth characteristic of cowboy songs is a spirit of democracy.*
Interesting* as these suggestions are, the writer ventures the
assertion that careful study of these songs and comparison
of them with their originals will not bear out the theories ad-
vanced. As an example of the lengths to which imagination
and folk-lore can go, take the Song of the Texas Ranger be-
ginning "Mount, Mount and Away/' which has been credited
with the rhythm of the lope, the spirit of the range, and other
characteristics of the free life of the prairies. When, how-
ever, its original is shown to be "I'm Afloat, I'm afloat on the
Wide Rolling Tide" (see pages 46-47), of which the melody
is identical and the text a close paraphrase, the rhythm of the
saddle is forced to give way to the roll of the waves, not gen-
erally credited with being one and the same. Multiplication of
such examples is not difficult.
The Texas cowboy is not, historically, an original figure;
the Mexican vaqttero, his prototype, figures in 16th century
annals. He appears late in Texas because the presence of
hostile Indians deterred him. In the latter part of the 17th
century he roamed the El Paso region; in the 18th, he invaded
the lower Nueces and the Rio Grande Valley. Separated in
turn from his prototype, the Spanish or Indian herdsman, by
a much greater period of time, the songs of the Mexican
vaquero are probably more original than those of the Anglo-
American cowboy. Emanating from the high tablelands about
the capital, these songs traveled up through Central Mexico;
others came along the West Coast and then through Sinaloa
*Procedings Texas Folk Lore Society, VII, 145-154.
(134)
PALOMITA
Arranged by Manuel Ponce
4fe=E"
Traditional
^.AJL... .ywift.,..._>Q JEyM. VMV dA/^vvLCiyA/
=r^=^
\v
=zV .1 j_
s V
VtXX-tAA> O<
=W^ =1
=^'1 J J =
t > $ot .<YA._.
JS j j ^
-jjS. .
<i
u A
r-^-^C
y f r f
-M-P-
1 ;
>l .^^
FF F r
i " "
Ul j. ,
H-
1 1
!_, 1
-
^KlLJiK^i_L!l5fl/l
^
>J J
-?=F^
FIG. 4O
A Song of tne Texas border.
Music in Texas
and Sonora. A few of these current in the 20th century
among all classes of the "frontera" of Texas have been trans-
cribed and aranged in more or less artistic form. Of the more
finished versions are those of Manuel Ponce and Ramon
Campos* Of these Palomita is a good example.
In the field of Mexican cowboy music, little has as yet been
done, but its vistas are fascinating to the serious student
equipped with the necessary historical, musical and linguistic
background*
Under folk music should be included such local adaptations
of older songs as linked them with Texas places or events.
Into this class fall especially a group of songs connected with
the various rivers* Among these are "Down on de Rollin'
Brazos/* "Can I Forget that Night in June upon the Brazos
River/* an adaptation from "The Danube/' "Red River Val-
ley/* a version of the "Bright Mohawk Valley" and "On
Red River Shore*'; "On the Banks of the San Antonio/' adapted
from "Old Salt River*'; and various local shifts in the text of
"On the Banks of the Blue Moselle." Many of the cowboy
songs introduced the Rio Grande in one form or another. Adap-
tation of other well known songs with an historical setting
was also general. "Bruce's Address" by Robert Burns served
as the basis for three Texas songs between 1836 and 1846;*
"Hohenlinden" by Campbell for others. A detailed study of
such adaptations would yield a volume illustrative of the dis-
semination of various types of music among the people of
Texas.
*For titles see pages 26 and 45.
(136)
CHAPTER XVIII
Music Composed in Texas or by Texans
THE "Brazos Boat Song," composed In 1831 on the banks
of that river by Mary Holley, a cousin of Stephen F. Aus-
tin, is the first musical composition written on Texas soil, so far
as known to the writer. In the next decade a few composers
of varying qualifications made their homes in Texas: Adolf
Fuchs, whose existing manuscript volume is representive of
bis songs; Ally re Bureau, who worked at "La Reunion'* in
the late fifties; Gustave Fitze at New Waverley, whose music
was published by Ditson; and F. W. Smith, professor of
music at Baylor College before it was moved from old Inde-
pendence, composed music of interest in its day. \Ve have
mentioned the "Texan youth" who composed music during
the Mexican "War, and the March by Clarence \Vharton pub-
lished during the Civil War. T. B. Bishop in Galveston and
Professor Bauer in Dallas, who composed a Christmas An-
them, also deserve mention. The publishing house of Thomas
Goggan and Brothers, established in 1866, issued many other
works of an ephemeral character written by Texans*
Franz Van der Stucken has already been referred to as
the first composer born within the confines of the state to
achieve international fame. His work was, however, in no
way associated with the state. The first native composer to
achieve fame through the use of Texas background was Os-
car Fox ( 1 879- ) , who no doubt inherited from his grand-
father, Adolf Fuchs, some of his musical ability. Educated
in San Antonio and later at Zurich, he served for years as or-
ganist, choirmaster and teacher in various Texas cities before
achieving fame through his settings of the cowboy songs col-
lected by John Lomax. Only after these paved the way was
the merit of his original work recognized. Since 1922 he has
labored persistently. "White in the Moon the Long Road
Lies/' "The Hills of Home" and "The Rain and the River"
are among his best known songs. Corn Silks and Cotton Blos-
soms is published here for the first time.
CORN SILKS AND COTTON BLOSSOMS
Whitney Montgomery Oscar Fox
In Ihe manner of a folk song
tirf
m
Corn sUks and cot ton bios - - soma, Flow'r of the SomL,
^=^^-d
r r
^
r--ty years I've ten --ded them Thru rain and drouth*
J J
^r~T~T^T
=JL_JL-^
S
CJorn silks and cotton blossoms,
Flow'r of the South,
Thirty years I've tended them
Thru rain and drouth.
Thirty years I've tended them
A-toiling hard and long
Dreaming now and then a dream
That turned into song.
(138)
Cresc.
Dream -ing now and then a dream That tur---ned in to song.
ff
**
f
f
Cresc.
t-j 1 ; r r j- r-3
H<
sre I bind them in a wreath For
U
al
I a
ie world to see,
<y b t
-A i
> i i i j. i^N
e
1 a
5C
1=
1 ' UJ - X ^
J j r
r " i 4 L~^ '
7
Crcsc.
T ; J r ,
Corn silks and col - - - ton bios - - soma,
luil =; J J J - J 1
And the heart of nv
e.
^"L/^ ^ i Jr4-4-
rr j .... |fr j =
Crcsc,
J J
^-^^: HJ- i
1 i ^=3
v F::,^^
Cresc
Corn silks nmlcol-~ttm - blos-"soms. And the heart of uie.
Here I bind them in a wreath
For all the world to see,
Corn silks and cotton blossoms,
And the heart of me.
Corn silks and cotton blossoms,
And the heart of me,
A hitherto unpublished song by Texas' best known song writer.
Used by permission.
Music in Texas
The second native composer to achieve fame is David Guion,
born at Ballinger in 1895* He, too, has used as thematic mate-
rial cowboy and negro melodies; especially has he turned his
attention to the humble strata of society, as is shown in his
collection of "Alley Tunes/' One of these, "The Harmonica
Player/' and his arrangement of "Turkey in the Straw are
among the best of his instrumental productions; his setting
of "Home on the Range*' is unquestionably superior; and
both the negro and the Indian have received sympathetic treat-
ment by him. Again, it seems that local material has furnished
this Texas composer his best subject matter.
In the creation of music in larger forms, the first Texan to
achieve fame is Harold Morris, born in San Antonio. After
securing his degree at the University of Texas, he studied at
the Cincinnati Conservatory of Music. His violin sonata, still
unpublished, a Symphonic Poem for orchestra and his piano
Concerto have won the praise of outstanding critics. His
"Doll's Ballet" is within the range of the average player; but
the "Sonata in B-flat Minor" and the "Scherzo" call for more
finished technique.
Among song writers, Texas can claim several who have done
creditable work: "Wash Day/' "Plantation Ditty," "Boats of
Mine/* and "Parting at Morn" are among the best known of
the published works of Anna Stratton (Mrs. Thomas Holden)
who was born in Cleburne and educated at the University of
Texas. Kathleen Blair Clark, while a composition student of
Arthur Claasen, produced a few songs which showed prom-
ise among them "Fanchonette" and "Little Rose of May."
Horace Clark, born in Houston, the son of a professor
at old Baylor College, received his early training under
Mrs. Griinewald, the grandmother of Olga Samaroff. Al-
though he attended the New England Conservatory, it is the
coloring of the South that pervades his work. "Songs from
the South/' one of his best known groups, includes those
of the negro, such as "Aunt Sally," "Over Jordan," and "When
Old Aunt Lindy Sings." Raide Britain of Amarillo follows the
Texas tradition with "Hail Texas" and "A Western Suite"
which includes five sketches "On the Plains," "The Covered
Wagon," "Mirage," "Campflre" and "Stampede." Newell
Cummins, born in Denison and a student of Edward McDow-
(HO)
Music Composed in Texas or by Texans
ell, has made some arrangements of cowboy and southern mel-
odies; Annette Myers, born in Marshall and a graduate of the
American Conservatory in Chicago, has written a string quar-
tette, a "Reverie" for cello and piano and a song, "Texas Our
Native State/* Alice Mayfield Brooks of San Antonio has used
negro themes in an interesting manner. Louise Daggett Fisher
has written songs and music for strings that show musical in-
sight.
Composers born outside of Texas but who have done work
worthy of attention while residents of the state include: Reu-
ben Davies, born in 1891 and educated at the University of
Kansas and the Institute of Musical Art, whose "Western
Romance/' "Echoes from Colorado/' "Tishomingo/' and "From
a Log Cabin" have a western coloring; Anna E. George, a
native of Mississppi, educated at Bush Conservatory, a few of
whose compositions, such as "The Creek" and "The Prairie
Pictures/' possibly have a Texas background; Julius Jahn, of
Dutch-French ancestory educated at Munich and Vienna, who
has written especially for women's voices "Barcarplle." "The
River," "Laughing Song," "Lullaby," "Evening/' and "Morn-
ing/' The most voluminous composer of this group and the
one most closely associated with Texas life is William J. Marsh,
born in England, but a cotton broker in Texas since 1904, and
the composer of the State song, "Texas, Our Texas/' As he
has served for years as an organist and choir director, many
of his works are sacred in type masses, motets, anthems,
Christmas and Easter songs. Local coloring is to be found in
"Chinita" a Spanish serenade and "Bluebonnet Time/* In
San Antonio one of the outstanding composers is John M.
Stein f el dt, born in Hanover, Germany, but educated mainly
at the Cincinnati Conservatory. He, too, has "written much
sacred music, including a "Mass in G Minor/* Marked by
Texas coloring are his fine choral Hymn to Texas and a piano
number,"At the Mission/* His interest lies mainly in the field of
piano music. Both Arthur Claasen and Carl Hahn deserve
mention here, although their best work was done outside of
the state. At Southern Methodist University is Harold Hart
Todd, born in Ohio, and educated at Oberlin and the Univer-
sity of Nebraska, whose principal contribution has been his
(141)
Music in Texas
editorial work on the Cokesbury Hymnal. At Westmoorland
College, San Antonio, is Carl Venth, born in Cologne in I860
and educated under Hiller and Wieniawski. Once concert
master of the Flemish Opera at Brussels, he came to America
in 1880, played in the Metropolitan Orchestra, conducted the
Brooklyn Symphony, and was concert master of the St. Paul
orchestra. In Texas, he has served as director of the Kidd
Key Conservatory, of the Dallas and Fort Worth Symphony,
and of the School of Fine Arts at Texas Woman's College.
His three one-act operas and a Centennial song, "I arn a Texan"
are among his Texas productions; his Pan in America won the
National Federation of Music Clubs prize in 1923, and his
numerous cantatas have had wide rendition. His comic opera
"Fair Betty " was presented in Fort Worth in 1916* He has
a Texas opera ready for presentation in 1936.
The bits of history recalled by these pages can only be fairly
interpreted when fitted into the larger picture of American
and world culture, of which they form a part. When the first
European music was taught in Texas, John Sebastian Bach
was not yet born; Spanish music was being sung during the
lifetime of Handel, Haydn, Mozart, Beethoven and Schubert;
the Republic of Texas carne into being on the crest of the
Romantic Movement, when Chopin, Mendelssohn and Schu-
mann were mature men; and the Civil War period, represented
in Texas by the music of the "Old South'* is contemporary
with the beginning of the modern school of composers. While
distinct types of folk music were evolving in Texas, Russian
and Spanish composers were beginning to turn their attention
to native themes; Liszt and Brahms made known to the world
the variety and richness of Hungarian music; and Dvorak
awoke the pride and enthusiasm of the Czechs for their own
folk music. Had one sought a century earlier in those coun-
tries for the music of the people in printed form, there would
have been even less of interest found than is presented here in
connection with Texas. What each of these countries has
since contributed in the form of modern music is the adapta-
tion and utilization of existent material. Texas and her various
(142)
Music Composed in Texas or by Texans
folk themes still await the composer who is to give them ade-
quate expression in the form of a great suite, choral work,
symphony or opera. Perhaps this sketch, pieced together from
the insignificant items of past life in Texas, may serve to sug-
gest that goal, or inspire the effort which will create in this
state, from themes typically Texan, a musical masterpiece of
the first rank.
(143)
APPENDIX
TEXAS CONCERT CALENDAR, 1920-1921
AUSTIN
Nov. 5 Josef Lhevinne (Mrs.
Katherine Buford Peeples).
ABILENE
Oct. 11 Marie Tiftany (Simmons
College) .
Oct. 29 Josef Lhevinne (Sim-
mons College).
Jan. . . Thelma Given (Sim-
mons College).
Paul Althouse and the Victor Or-
chestra will be presented by
the Christian College during tihe
season, but dates have not
been assigned.
AMARILLO
Oct. 25 Reed Miller and Nevada
Van de Veer (Amarillo College
of Music).
Dec. .. Marie Rappold (Ama-
rillo College of Music).
Feb. 17 Florence Hardeman and
Stewart Wille (Amarillo Col-
lege of Music).
BELTON
Nov. 4' Rafael Diaz and Eddy
Brown (Belton Music Club).
Nov. . . Great Lakes String Quar-
tette (Baylor College;.
Dec. 10 Marie Rappold (Belton
Music Club).
Dec. . .Albert iLindquist (Bay-
lor College).
Jan. 25 Redpatfh Concert Orches-
tra (Baylor College).
Feb. .. Mme. Schumann-Heink
(Belton Music Club).
March 23 Reinald Warrenrath
and E. Robert Schmitz (Bel-
ton Music Club),
April . , Anna Case (Belton
Music Club).
CORSICANA
Nov. 2 Bertha Freeman Ashberry
(Nevin Club).
Nov. 12 Lambert Murphy (Nevin
Club).
DALLAS
(Symphony Orchestra date not
assigned.)
Oct. 11 Allen McQuhae (Catho-
lic Ladies' Aid Society).
Oct 28 Zoellner Quartette (Uni-
versity Club).
Nov. 1 Rafael Diaz and Marie
Tiffany (E. G. Council).
Nov. 4 Josef Lhevinne (Schubert
Choral Club).
Nov. 7 Merle Alcock (Dallas
(Band).
Nov. 8 Pietro Yon (American Le-
gion) .
Nov . 10 Scottish Rite Octette
Nov. 10 Julia Claussen (Musicale
Concert Bureau).
Nov. 18 Sophie Braslau (E. D.
Behrends).
Nov. 22 Eddy Brown and Reuben
Davies (E. G. Council).
Nov. 29 Helen Stanley (Musicale
Concert Bureau).
Dec. 2 Mary Garden (Mmes. Ma-
son and MacDonald).
Dec. 5 Freza Green, assisted by
Dallas Artist (Dallas Band).
Dec. 13 Marie Rappold (E. G.
Council) .
Dec. 25 American Opera Com-
pany (Dallas Male Chorus).
Jan. 5 Harvard Glee Club (Dal-
las Male Chorus).
Jan 11 Fritz Kreisler (Mmes,
Mason and MacDonald).
Jan 11 Percy Grainger (Musicale
Concert Bureau).
Jan 15 Boys' Choir (University
Club).
Jan 17 Duncan Dancers and
Beryl Rubinetein, pianist (Musi-
cale Concert Bureau).
Jan. 24 Benno Moisewitch (E. D.
Behrends).
Jan. 24^ Arthur Middleton (E. G.
Council).
Jan. 25 Dallas Male Chorus (Uni-
versity Club).
*As announced in The Musicale, November, 1920.
Music in Texas
Jan. 21 Grace Wagner, Caroline
Lazzari, Renato Zanelli, Prank
LaForge at the piano (Mmes.
Mason and MacDonald).
Feb. 3 Mary Jordan (Musicale
Concert Bureau) .
Feb. 13Albert Lindquist (Dallas
Band).
Feb. -Thurlow Lieurance, Edna
Wooley and George Tac (Musi-
cale Concert Bureau).
Feb. 17 Maggie Teyte (Schubert
Choral Club).
March 7 American Operatic Q0m-
pany (University Club).
March 7 Mabel Garrison (E. D.
Behrends).
March . . New York Philhar-
monic Orchestra (Dallas Male
Chorus) .
March IS Albert Spalding (Dal-
las Band).
March 14 -Dallas Symphony Or-
chestra (University Club).
March 17 Harold Bauer (Mmes.
Mason and MacDonald).
March 21 The Kennedys (Uni-
versity Club).
March 22 Reinald Werrenrath
(Musicale Concert Bureau).
March 28 Vera Poppe (Univer-
sity Club).
March 29 Adolph Bolm Ballet
and Little Symphony Orchestra
(Musicale Concert Bureau).
April 4^-Morgan Kingston (E. G.
Council).
April 10 Louis Graveure (Dallas
Band).
April 22 Forrest Laanont (E. G.
Behrends).
May 8 Gabrielle Besanzoni (Dal-
las Band).
May .. Scotti Opera Company
Mason and Macttonald).
May . . Music Week: Annual
meetings of the Texas Teach-
ers' Association, Texas Federa-
tion of Music Clubs and Texas
Music Merchants* Association.
FORT WORTH
Oct. 14 Allen McQuhae (Ameri-
can Legion).
Oct. 19 Caruso (Harmony Club).
Oct. 28 Josef Lhevinne (Inez
Hudgins) .
Nov. 3 Merle AJcock (Euterpean
Club).
Nov. 12 Julia Claussen (Ameri-
can Legion).
Nov. 15 Lambert Murphy (Eu-
terpean Club).
Nov. 17 May Peterson (Ameri-
can Legion).
Nov. 30 Helen Stanley (Inez
Hudgins).
Dec. 3 Mary Garden (Harmony
Club).
Jan. 10 Percy Grainger (Har-
mony Club)
Jan. 1(5 Thelma Given(Inez Hud-
gins).
Jan. 26 Mary Jordan (Inez
Hudgins).
Jan. .. Louis Graveure (Ameri-
can Legion).
Feb. 15 Thurlow Ldeurance;
Edna Wooley, soprano; George
Tack, flutist (Inez Hudgins).
March 14 E. Robert Scnmitz and
Olive Kline (Euterpean Club).
Week of March 27 Anna Cas
(Harmony Club).
March . . . Forrest Laanont (Am-
erican Legion).
After Easter LeDesca Loveland
and Edgar Schofield (Inez Hud-
gins).
April 15 New York Philharmonic
Orchestra (Harmony Club).
HOUSTON
Oct 22 Enrico Caruso (Edna W.
Saunders).
Nov. 15-17 San Carlo- Opera Com-
pany (Edna W. Saunders).
Nov. 23 Sophie Braslau (Edna W.
Saunders) .
March ..Chicago Grand Opera
Company/ two performances
(Edna W. Saunders).
April 12 New York Philharmonic
Orchestra, matinee and night
(Edna W. Saunders).
May 8-10 Scotti Grand Opera
Company (Edna W. Saunders).
(145)
Appendix
RUSK
Oct. 22 Merle Alcock (Rusk Col-
lege Conservatory).
Feb. 21 Yolando Mero (Rusk Col-
lege Conservatory).
March 22 Olive Kline (Rusk Col-
lege Conservatory).
SAN ANGELO
Jan. 28 Renato Zanelli and
Frank LaForge (J. Culberson
Deal).
Feb. 25 Eight Victor Artists (J.
Culberson Deal).
March 4 Mme. Frances Alda (J.
Culberson Deal).
SAN ANTONIO
Oct. 12 Rafael Diaz (San Anto-
nio Symphony Society).
Nov. 5 Josef Lhevine (Tuesday
Musicale Club and Chamindde
Society).
Nov. . . San Carlo Opera Com-
pany (Tuesday Musicale Club
and Ohaminade Society).
Nov. 16 Julia Claussen (Alva
Wilgus). Thelma G-iven and
Genia Zielinska, joint recital
(Alva Wilgus).
Nov. 22 Sophie Braslau (Mozart
Society) .
Dec. 6 Helen Stanley (Mozart
Society).
March 19 Giovanni Martinelli
(Mozart Society).
March 1 Paul Althouse (ALva
Wilgus) .
April . . LeDesca Loveland and
Edgar Schofield, joint recital
(Alva Wilgus).
SHERMAN
Oct. 5 Bomar Cramer (Kidd-Key
Music Club).
Oct. 15 Anna Case (Austin Col-
lege).
Oct. 28 Frank Renard (Kidd-Key
Conservatory) .
Oct 29 Marie Tiffany (George
Condon) .
Nov. 5 Eddy Brown (Kidd-Key
Music Club).
Nov. 14 Julia Claussen (Kidd-
Key Music Club).
Nov. 19 Marie Rappold (Austin
College) .
Dec. 2 Henrica Jones (Kidd-Key
Conservatory) .
Jan. 14 Percy Grainger (Kidd-
Key Musical Club).
Feb. 11 Maggie Teyte (Kidd-Key
Music Club).
March 14 Albert Spalding
(George Congdon).
March 14 Paul Althouse (Kidd-
Key Music Club).
March 15 Harold Bauer (Kidd-
Key Music Club).
Mr. Hans Richard, Miss Ethel
Rader and Mr. Harold Loring,
lecture-recital, will be presen-
ted on dates to be determined.
TEXARKANA
Nov. 9 Merle Alcock (Mrs. Ray
Eberson).
Jan. 27. Salvatore de Stefano
and Mrs. Eberson, joint recita-
(Mrs. Ray Eberson).
May 3 Allen McQuhae (Mrs. Ray
WACO
Nov. 2-5 San Carlo Grand Opera
Company (Cotton Palace Ex-
position).
WICHITA FALLS
Nov. 29 Marie Rappold (Musi-
cian's Club).
March 28 Morgan Kingston (Mu-
sicians' Club).
(H6)
INDEX
Abbot Opera Company, Emma, 77,
105
Abt, P., 62
Abilene, 121
Acadians, 53, 54
Acme Song Collection, 82
Accordion, 27, 71
Accrediting of music courses, 113-
115; of music schools, 117; of
music teachers, 114, 115, 117
Adey, A., 70
Ai'da, 97, 106, 122
Alabado, 8, 9, 11, 12
Alamo, 24
"The Alamo/* Hewitt, 45
"The Alamo-," Durriage, 45
"Alamo Hymn/' 37
Albniz, I., 110
"All for Texas," 45
Allen, Peter, 26
Allesandro, V., 110
Alley Tunes, 140
Amarillo, 105, 106, 111, 121, 140
"American Bivouac/* 49
American Guild of Organists, 120
"American Maiden's Song to her
Lover/' 50
American music, 37, 38, 99
Aonericanization, 90
"Americans, protect your blood/'
32
Avnore de tre re, J/% 106
"An die Freundschaft/' 95
Anderson, 82
'* Angel of Dreams," 65
Anglo-American settlements, 23
"Annie Laurie/' 62
Antwerp, 37, 38
Appreciation, musical, 85, 116, 123
Arion Singing Society, 37, 108
Arkansas, 31
Arts in Texas, 14
Association of Harpists, 120
"At the Bar," 68
"At the Cross/* 65
"At the Window," 39-40
Atlanta, 111
Auditorium^, municipal, 111,, 121
"Auf dem Wasser zu singen/' 95
Augusta, Georgia, 61, 63
Austin, 29, 34, 58, 60, 69, 75-77,
79, 92-99, 104-107, 111, 113-114,
121
Austin, Stephen P., 34, 136
Ave Maria, 9
Aztecs, 6, 7
Bach, John Sebastian, 3&, 122, 142
Baker, Mrs. Edwin B., 119
Balfe, M., 97, 101
Ballads, 17, 136
Ballet, 37
Ballinger, 140
Baltimore, 49, 63
Band masters, 120
Bands, 17, 41, 61, 63, 70-75, 77-79,
89, 114, 120-122
Bangs, Samuel, 25
"Banks of the Blue Moselle," 26
Barber of Seville, 104
Bassoon, 108
Battle, W. J., 113
"Battle of Buena Vista," 50
Battle of San Jacinto, 24-26
Bauer, Alexis, 37
Bauer, Theodore, 78, 137
Baylor College, 35, 82. 137, 140
Baylor University, 71, 117
"Beauregard's Grand March/' 62
"Beauregard Manassas Quick-
step," 62
Beck, Carl, 108
Beebe, John N., 26
Beethoven, Ludwig van, 70
Beethoven Club, 73
Beethoven Maennerchor, 96, 99,
100, 108
Bell ringers, 70
Bellini, V., 101
Belton, 121
Berger family, 71
Bernais mountain singers, 72
Besserer, William, 76, 83, 93, 97,
98, 105, 107
Bild der Rose, Das. 79
(147)
Music in Texas
Bishop, H. R., 101
Bishop, T. B., 71, 137
Blaeh, William, 111
Blackmar, A. E., 61, 63
Blackshear, Laura, 119
Blanton, Annie W., 115
Blind,- -musical education of, -72,
75, 77 : ' -. - - -
Blitz, -Julien Paul, 108, 110 -- --
BoJieine., La, 106
Bohemia, 58 -
Bohemian Girl, 97, 101, 107
"Bonny Blue Flag," 61
"Bonny Eloise," 61
"Bonny Jean", 62 I
Boston, 26, 45, 81, 111, 123
Boston Opera Company, 106
"Brave Boys are they", 63-
Brazos, 27, 35, 132, 136-7
"Brazos boat song", 137
Brenham, 76, 79
"Bright Mohawk Valley," 136
Britain, Raide, 140
Brooklyn, 108
Brooks, Alice Mayfield, 141
Broom, George, 26
Brown, A. F., 56
Brown, J. Alleine, 83
Brownsville, 101
Brownwood, 121
Buchanan, A. M., 110
Buck, Francis, 50
Buckley, F., 65
"Buena Vista", 49-50
"Buena Vista Grand March/' 50
Buena Vista (opera), 50
Buffalo, 81, 111
Bugles, 26
<f Bundeslied," 97
Bureau, Allyre, 56-58, 137
"Burial of Sir Jonn Moore", 50
Burns, Robert, 136
"Bury Me not", 131
"Cajuns", 54
"Call of the Tamale Vender," 16
Calvello, Charley, 74
Camden, 31
Campfire song, 131
Qamp meetings, 31, 32, 65
Campanini opera company, 105
Camp Travis, 89
"Campbells are coming", 49, 52
Campos, Ram.6n, 136
"Can I Forget", 13>6
Canary Islanders, 14
"Capitaine May", 49
Capitol at Houston, 28
^Captain Walker's Quickstep", 48
"Capys, Charles, 55
Carleton opera company, 77, 105-
..
"Carrie Bell", 62
Casino, 105
Castro, Henry, 55
Castroville, 55
Catholic Church Music, 6-14, 29^
72, 74
Cattle trails, 130
Cavalleria rusticana, 106
"Cerro Gordo March", 52
Certification laws, 114, 117
Chadwick, H., 52
Chappell Hill, 83
Chants, 9, 10
Chicago, 96, 111, 123
Chicago opera co., 106, 110, 111,.
119
Chickermg pianos, 71
"Childhood Days", 63
Childress, 121, 122
GUitnes of Normandy, 105-
Choate, Mr., 27
Choirs, 9, 14, 72, 74
Chojnachi, H. F., Ill
^Choosing a flc-wer', 57-58
Choral music, 9, 34, 38, 60, 70, 76,
77, 92, 95-100
Chorales, Swedish, 60
Christmas music, 17-20, 137
Ohurch and Company, John, 82
Church music, see Music, sacred
Church music conference, 120
Cincinatti, 31, S3, 81, 82, 96, 111
112
Cinderella, 101
Civic music, 120-122
Civil War, 41, 42, 58, 61-75, 79,
101-105, 127
Claasen, Arthur, 99, 108, 110, 140 r
141
"Clang! Clang! Clang!" 56, 58
Clarions, 26
Clark, Horace, 140
Class music teaching, 41, 70, 80, 82
Clay, Henry, Jr., 50
Cleburne, 106, 140
Cleveland, 111, 123
Clubs, music, 119-120, 123, 144-146
Coast of Mexico, 48
(148)
Index
College of Industrial Arts, see
Texas State College for Women
"College entrance credit in music.
113
Colleges, 60, 91
"Columbia, land of liberty" 32
Columbus, 95
"Come dwell with me" 27
'Come, flowers to me" 57
"Gome, oil come with me" 59-60
Comfort, 96, 97
Community music, 89, 120-122
Composers, 26, 35-6, 38, 41, 77, 137
Compositions, musical, 78, 104,
127, 1S7-143; instruction in, 82
Concert managers, 77, 144-146
^Concerts in Texas, 17, 28, 29, 34,
37, 41, 62, 63, 69-78, 92, 101, 104,
108-111, 120, 121
Concert halls, 28, 41, 76, 105
Concordia (New Braunfels), 96
Concordia Club (Dallas), 79
' Confederate Flag", 61
"Confederate Grand March", 62
Cornet, 78
Considerant, Victor, 55, 58
Conservatory of music, 70, 77
Contests, 116
Corpus Christi, 45
Corri, Henry, 28
Corsicana, 111
Cosmopolites, 79
Cowboy songs, 37, 65, 66, 130-137
140, 141
Creation, 76, 122
Creole music, 53, 127
Crooker, Fanny L., 75-76, 98
Crucifixion, 122
Culture, 3
Cummins, Newell, 140
Curricula, music, 114-118
G%ctr und Zimmerman, 105
Czechs in Texas, 26, 58, 60
Cymbals, 26
Dallas, French in, 55-58
Dallas, music in, 76, 77-79, 92, 97,
98, 104, 106, 107, 114, 120-122
124, 137; Glee Club, 78; Sym-
^ phony Orchestra, 109, 110
D*aly, Abel, 77
Damrosch, Leopold, 37
Dance halls, 41
Dances, 4, 5, 9, 12, 14, 17, 27, 29,
53, 74
Dancing teachers, 78
Daughter of St. Mark, 101
Davies, Reuben, 141
Davis, Mollie Moore, 63, 104
"Days of Absence,/ 26
"Dead at Buena Vista," 50
Dean, W. K., 49
De Bar, Mrs., 28
Debussy, C., 110
De Palla, M., 110
"De larga Jornada," 18
Delgado, Eusebio, 71
Denison, 121, 122, 140
Denton, 113, 121
Denver, 111
Derthick music clubs, 119
Detroit Symphony Orchestra, 111
Deutsche Lied, Das," 97
Deutsche Schriften in Texas, 37
Devine, Judge T. J., 75
Diaz, Rafaelo, 106
Diehl, Anton, 98
Ditson Cc-., Oliver, 41, 71, 137
"Dixie," 83
"Dixie War Song," 61
"Does your Mother Know," 27
"Doll's Ballet," 140
Domenech, Bmanuel, 55
Don Giovanni, 104
Doran, John, 32
Douai, Adolf, 37, 94
Double bass, 108
"Down on de rollin' Brazos," 132-
33
Dramatic performances, 20, 76
Drummer, 26
'Drummer Boy of Snlloh," cs
Drums, 25
Dubina, 58
Dubois, Theodore, 122
Dunn, George, 63
Dunn, John G., 50
Durivage, F. A., 48
Durriage, T. A., 45
Duvernoy, Gustave, 82
"Dying Camille," 65
Eaton, E. O., 65
Eberhardt, Louis, 75
Eckert, Carl A. F., 97
Eckhardt, Profesor, 70 3
Edison, Thomas, 84
Education, musical, 62, 69, 70, 74-
77, 80-85, 113-118; physical, 74;
State Department of, 114-118;
(149)
Music in Texas
through sound-reproducing ma-
chines, 115-116
JLJgmont, 79, 97
Egyptian Princess, 106
"Einsarne Roslein, Das," 97
Lriijah, 122
Ellis Opera Company, 106
El Paso, 7, 110, 114, 121, 134
Enchantress, The, 101
Ennis, 121
Ernani, 79, 97, 104=
Esther, 76
Evangeline, 53
European contacts, 69, 71, 90-1
''Fair Betty," 106
''Fair Land of Texas," 45
'Fairies Have Broken Their
Wings,," 63
"Fall of Matamoras," 49
"Fall of Veracruz/' 50
Fallersleben, see Hoffman vou
Fallersleben, A. H.
Fanthorp, see Anderson
Faust, 105, 106, 122
Faust Opera Company, 105
Fayetteville, 58
Feast of Roses, 104
Felton, (organ builder), 72
Festival, music, 60
Festlied, 37
Fiddlers, 27
"'Field of Monterrey/' 50
"Fields of Mexico," 50
"Fire Away/' 49, 52
Fischer, Jjouise Daggett, 141
Fisher, Alice, 79
Fitze, C. Gustave, 41, 71,137
Fixed-do system, 84
"Flag of Texas/' 45
"Fleurs des Alpes/' 79
Flute, 5, 9, 17, 27, 71, 73, 77-78
Folk dances, 58
Folk fests, 70
Folk-Lore Society, Texas, 32
Folk music, 69, 127-136; Anglo-
American, 24-5, 33; Cowboy 37,
65-6, 130-6; Creole, 127; 'Czech,
58; French, 53, 54; German,
36, 70; Mexican, 14, 15, 134^5;
Spanish, 14, 15, 53, 74 ; Swedish,
60
Folk-tales, 17, 21
Ford, Anna, 63
Fort Bend County, 41
Fort Brown, 49
"Fort Brown Quickstep," 48
Fort Worth, 106, 110, 116, 117,
121, 123
Foster, Stephen, 65
Fox, Oscar, 37, 137-139
jL-'ra, Diavolo, 28, 101-103, 104
France, 23, 58
Francis, W. G., 79
Franco-Prussian War, 70, 75, 9G
Frank, Severin, 111
Fredericksburg, 34, 37, 38, 96
Frederici, Marie, 101
Frees, Henry J., 79
Fried, Walter, 108
FreiscJiutz, Der, 79, 104
French, 62, 78; in iTouisana, 53;
in Texas, 8, 53-58
Frohsinn, 78
"From the Rio Grande's Wat-
ers," 50
Fry, W. H., 101
Fuehs, Adolf, 35-37, 137
"Funeral March/' 49
Gaines, Newton, 133-34
Gainesville, 121
Galveston, 25, 34, 41, 61, 63, 69-
72, 76, 79-81, 96-98, 101, 105,
107, 114, 121, 137
G-alveston News, 72
Games, 20-21
Gante, Pedro de, 6
Ganz, Rudolph, 112
Garcia, Bartolome", 11
Garcia de San Francisco, 7
Gar denier, John R. B., 50
Garret, Clyde J., 123
Gaul, A, R.. 122
"General Taylor's Grand March/'
48; "March at Buena Vista/' 50;
"Quickstep," 48
George, Anna E., 141
George, G., 62
Georgetown, 120
"Gorman Backwoodsman/ 5 36
Germania, 93, 95-97
Germans in Texas, 34-42, 69, 77 >
78, 81, 93-100
Gilbert, William, 105, 122
Glover, Stephen, 61
Gluck, C., 38
"God Will Defend the Right/' 61
Goethe, J. W., 36, 95
Goggan, Thomas, 71, 137
(150)
Index
Goliad, 23, 24
Gottschalk, L. M., 79
Gounod, Charles, 122
Graham, Mrs. Jolin Wesley, 110
Gramaphone, 84
"Grand Military Quadrille," 52
Grape Creek, 96
Greenville, 121
Gregorian music, 8-11, 13
Grobe, Charles, 48, 49
Griindler, H. F., 77
Griinewald, Lucy, 98, 140
Griinewald, C., 98
Guadalupe mission, (El Paso), 7
Guenther, H., 95
Guion, David, 140
Guitar, 9, 16, 27, 71, 75, 78, 80, 81
Gustat, P. J., Ill
Gutscli, Milton, 89
"Habanera," 33
Hahn, Carl, 108, 141
Hall, B. B., Ill
Hall, William, 71
Halletsville, 62
Halsell, Mrs. S. B., 78
Hamburg, 38
Handel, G. F., 122
Hanson, Howard, 110
Harding, Mrs. E. B., 77
"Harmonica player", 140
Harmony, Instruction in, 82
Harp, 9, 17, 71
Harps, German, 26
Harper, A. L., 122-123
Harrisburg, 34
''Harry Bluff" 45
Harthan, Hans, 99
Hartwell, 62
Havana, 54
Haydn, Joseph, 122
Hearn, Lafcadio, 53
Heilig, Francis, 63, 73, 74, 81
Heine, C. G., 70
Henderson Beacon, 31
Herbert, J., 97
"Here's a Health to Thee.
May," 49
Herff family, 73
Herff, Ferdinand, 73
"Heroine of Monterey," 50
Herzog, George, 75, 107
Hess, (Dallas) 104
Hewitt, J. H., 45, 49, 50, 51, 63-
Hickeuloc-per, Lucy (Olga Sama-
roff), 98
Hicks City Band, 75
High Schools, 84
Hill, 80, 81
"Hills of Home," 137
Hillsboro, 121
Hoffman, Charles, 62
Hoffman von Fallersleben, A. H.,
35, 36
"Holienlinden," 136
Holley, Mary, 26, 34, 137
Hollingsworth, O. N., 82
4 *Holly Oak Grand Waltz," 71
"Hoane on the Range," 140
Honneger, Arthur, 110
Hood, Thomas, 63
Hood's Seminary* 77
Hostyn, 58
Houston, 27, 28, 29, 41, 58, 62,
63, 69, 70-71, 79, 82, 92, 96-100,
104-108, 110, 112, 119, 121, 140
Houston Choral Club, 98
Houston Symphony Orchestra, 110
Houston, Sam, 24, 27
"How Can I Leave Thee," 62
Huffmaster, H. T., 98
Hungarian Gypsy Students, 77
Hugarians, 41, 72
-'Hunters of Kentucky," 26
"Hurrah! The Grand Young
State of Texas," 83
"Hurrah for Rough and Ready,"
48
"Hurrah for the Halls of Monte-
zuma," 52
"Hymn of the Alamo," 26
Hymns, 7, 9, 28, 29, 65, 69, 74, 127,
141
"I a*m Dreaming Still," 65
'*! Know a Maiden," 63
"I Know not why I love Thee,"
41
"111 Sustaining the Encounter,"
104
Ilsley, E. Clarke, 63
'I'm Afloat," 45-47, 134
"I'm Leaving Thee in
Sorrow," 65
Imitation of Nature, 3
In the Two Worlds, 35
Incarnate Word College, 117
Indian music, S, 4, 5, 12, 13, 14, 140
Indianola, 76, 95
(151)
Music in Texas
Indians in Texas, 3-9, 11-13, 14
Institute of Musical Art, 141
Instrumental, group, 9, 17, 107
Instruments, musical, 17, 24, 69
"Invitation, The," 25
Interscholastic League, 116-
lolanthe, 104
Iris, 106
"I See Her Still," 65
Isaacs Menken, Adah, 72
Island City Glee Club, 99
Italians in Texas, 60
"I Want to be an Angel/' 50
'I Would Like to- Change My
Name," 62
Jacob son, EL, 99
"Jaegers Abschied," 95
Jahn, Julius, 141
'Joan of Arc," 122
Johnson, L. H. W.,. 82
Jones, Mrs. Enoch, 73
"Juanita," 65
Juillard Foundation, 111
Kalinnikov, 109
Kansas City, 111
"Keep the Powder Dry," 63
Keller, Mattias, 49
Kepler, William, 104
Klappenbach, L. y 76, 98
Kleberg family, 34
Klotz, Henry A., 75
Kramer, Arthur, 109
Krehbiel, Henry, 53
Kreissig, Hans, 108,, 109
Kreutzer, C., 95
Kucken, F., 62
Kuntze, C., 79, 97
Lachner, F., 97
Lackie, J. D., 78
La Coste music store, 75
La Coste, Zulema, 73
Lady of the Lake, 117
La Grange, 34, 63, 95-96
La Hache, Theodore, 62
Lancaster, 78
Lane, Alice, 61
Lane, Mrs, J. J., 77
Language teaching, 27, 90
Lanier, Sidney, 73
4 'Last Hope,' 79
Lathan, Virginia, 77
Lavaca Institute 82
Laws affecting unusie teachers^
114-115, 117-118
"Leaf by Leaf the Roses Fall," 71
Leberman, H., 72, 99
"LebewoOil," 94, 95
Lemky, Friedrich, 26, 27
Leonora, 101
"Let Me Kiss Him for His Motn-
er," 65
Libraries, 122; German, 90; Swed-
ish, 60
"Liebesehruerz," 95
99
(New Braimiels), 95;
(San Antonio), 96
''Listen to the Mocking Bird," 65
Liszt, Franz, 37, 63
'"Lob des Gesanges," 97
Lochhead, Alva, lift
Loniax, John, 137
''Long, Long Ago," 33
Longfellow, Henry W., 63
Longview, 79
L<5pez, Nicolas, 8
Lorelei, 76, 98
"Lorena," 64-65
Louisiana, 53, 54
"Love was Once a Little Boy," 2&
"'Love's Vow," 105
"Lover's Wish," 63
Lucchese, Josephine, 106
Lucia de Lammermoor, 79, 104, 106
Lucretia Borgia, 104
"Lucy Neale," 48
Lullaby, Indian, 5; Spanish, 15
Lurline, 104
Macarthy, Harry, 61, 63
MacDowell, Edward, 141
MeGee, J. W. r 104
McGinty Club, 110
Madame Butterfly, 106
Madden, R. B., 82
Magic Flute, 101
Mahler, Gustav, 109
Maid Marion, 105
"Maid of Monterey," 50-51
Manners and customs, Anglo-
American, 23; French, 54-58;
German 81, 90, 91, 99, 105; In-
dian, 3-13, 16; Spanish, 14^17,
30-32
"March to the Battle Field," 49
(152)
Index
Margil de Jesus, Antonio, 9-11, 14
Maritana, 101
Marschner, H. A., 95
"Marseillaise," 26, 101
Marsh, William J., 141
Marshall, 106, 141
Martha, 79, 101, 104-105
Mars, William, 106-108
"Mary of Argyle," 62
''Maryland, My Maryland," 63
Masaniello, 104
Mason, Lowell, 31, 81
Mason, Luther, 84
Mason, Sandy, 119
Masonic Colleg.ate Institute, 82
Matagorda, 26, 82
"Matamoras Grand March," 49;
"Quickstep," 49; "Triumphal
March," 49
Maurer, K, 97
Mayo-, Virginia, 82
"Meeresstille," 96, 107
Melodeon, 74
''Men of Churubusco," 52
Mendelssohn, Felix, 63, 76, 95, 98,
122
Menken, Adah Isaacs, 72
Messiah, 122
Messmer, J., 77
Metropolitan opera, 123
Metzenthin-Raunick, S., 37
Mexican War, 33, 45-52, 137
Mexico, 23, 69, 89, 101
Mexico City, 6, 50, 52, 54, 71
Meyer, Henry E., 32
Meyerbeer, G., 97
Mikado, 105-6
Miller, George, 70
Miner, G. G., 82
Mineral Wells, 121
Minneapolis, 95-6, 112, 123
"Minnelied," 95
Missions, 6-9, 13, 80; life in, 9, 11;
music in, 6-13- ; Guadalupe, 7;
Ro-sario, 8; San Antonio de Va-
lero, 24; San Francisco de la
Espada, 11; Scin Juan, 9; secu-
larized, 13
Moehring, F., 78, 97
Monterey, 50
Montgomery, Whitney, 138
"Moon was Shining Brightly,
The," 51
Moore, Douglas, 110
Moore, Thomas, 25
"Morgen muss ich fort," 94
^iorris, Brooks, 110
Morris, Harold, 140
Moseley, R. J., 26
"Mount, Mount and Away," 46-8,
134
Mountain Singing Union, 97, 99,
lot)
Moveable-do system, 84
Mozart, 101
Mozart Society, 99
Mozartina, 99
Municipal niusic, 120-2
.auslc, Anglo-American, 23-33, 45-
52, 61-68, 82-85; Czech, 58-60;
French, 53-5S; German, 34-42,
69-80; Italian, 59-60; Swedish.
59-60; and religion, 5, 23, 29-31;
i~-C social life, 41, 1 ; apprecia-
tion, 85, 116, 123-4; as medi-
cine, 5; attitude toward, 14, 23,
28, 29, 34, 41; books, 26, 71;
broadcasting, 124; civic, 120-2;
clubs, 111, 118, 123, 144-6; col-
lections, 90; commission, 120;
community, 120-2 ; composers,
26, 35-6, 38, 41, T7, 127, 131, 134,
136, 137-42; day, 120; directors,
75, 1U4, 120; engraving, 49; fes-
tivals, 38, 60; halls, 41, 71; in
colleges, 113, 114, 116-7; in
missions, 6-13; hi schools, 30-1,
70, 74, 80-5, 114-6; in high
schools, 84; in rural schools,
115; libraries, 122; memory con-
tests, 120, 122; Merchant's asso-
ciation, 123; "military, 5, 24^-6,
32, 89; municipal, 120-2; "Music
News, 122-3; patriotic, 26, 28,
45; publications, 122; publish-
ers, 31, 41, 45, 48, 61, 63; schools,
38, 62, 70, 74, 113-4, 116-7; socie-
ties, 29, 69, 7lr, 75, 78-9, 92-100,
108-11, 119-21; stores, 41, 71,
74; study and teaching, 5, 6, 13,
30, 75, 77, 80-5, 113-8, 120, 123 ;
supervisors, 115-7, 122; teachers,
6-9, 26, 27, 41, 63, 69, 70, 72, 77,
78, 80-85, 113-8, 120; teacher's
organizations, 83, 120; week, 120
Musical Union (Austin), 76, 98
Musical instruments, 4, 5, 7, 9, 17,
24, 26, 27, 69, 71, 74
Musical manufacturers, 34
JJusicale, 122
(153)
Music in Texas
Musicale Society, 79
^Muttersprache," 97
Myers, Annette, 141
"Nacht auf dem Meere," 95
Nachtlager in Granada, iu&
Nacogdoches, 23
Nacogdoches University, 5*
Nanon, 105
National Association of music
schools, 117 .
National Education Association, 83
"National song of Texas," 25
Navasota, 119-121
Navratil, Anton, 111 .
"Near Buena Vista's Mountain
Chain," 50
Nebuchadnezzar, 107
Negro music, 53, 69, 72, 75, 127-J.30
Neithardt, A., 95
"Nellie Gray," 65
Nespoli, Uriel, 109
New Braunfels, 34, 37, 63, 69, 76,
90, 93, 95-7, 99, 100
New England, 31, 73
New Mexico, 7, 8, 54
New Orleans, 27, SI, 49, 50, 54-5,
61, 63, 69, 71, 81, 107
New Sweden, 58
New York, 26, 27, 45, 71, 81, 96,
111-2, 123
Newton, Mrs. Samuel, 73
Norma, 52, 101
Norton, Mrs. Charles, 116
Notation, musical, 5, 31
''Now while our Cups are Plow-
ing," 49
Nueces River, 48, 134
Obendhain, Major, 79, 104
Odin, John Murray, 72
O7i, peregrina agraciada, 19
Oh, surtout cache Im, 55
"Old Salt River," 136
"Old Windham," 29, 30
Olivette, 105
"On Buena Vista's Bloody
Field," 49
"On Red River Shore," 136
"On the Banks of that Lone Riv-
er',, 136
"On the Banks of the Blue Mo-
selle," opp. 26, 136
"On the Banks of the San An-
tonio," 136
"On to Texas," 35
"On to the Charge/' 49
"On Yonder Rock Reclining," 2S,.
101-103
Opera, 35, 49, 50, 52, 54, 71, 73', 74,
77, 79, 98, 101-106, 121
Opera houses, 29, 104, 105
Oraculo, I/', 106
.Orchestral director, 37, 38, 55
Orchestral music, 62, 107-110
Orchestras, 27, 38, 61, 95, 96, 98,
104, 105, 122; high school, 100,
112, 114; in United States, 111;
junior symphony, 111; local,.
107; Mexican, 17; string, 17, 70,
74, 75; symphony, 107-112
Ordway, John P., 65
Organists, 72, 141
Organizations, music teachers', 83 V
84, 114, 120, 122
Organs, 7, 9, 14; municipal, 121;
pipe, 29, 72, 74, 76, 121
"Origin of the Stars and Bars,"
63
Otis, Charles, 62, 63
Otto>, J., 95
Owen, Julia, 119
"Pacific 231," 110
"Pack up your Troubles," 89
Paganini, N., 77
Pagliacci, 106
Palm, Sir Swante, 58, 60
"Palo Alto," 49; "and Resaca de
la Palma," 49; "Grand March,"
49
Palomita, 135, 136
Paris (Texas), 55, 77, 121
Partido*, (opera manager), 104
Pastores, Los, 20
Patchwork, 104
Pater Noster, 9, 10
Peak,family, 71
Pedernales, 96
Perote, 33
Petmecky, George, 37, 75, 95
Petrunken, Henry, 49
Philadelphia, 31, 98, 111
Philharmonic Music Club, 111
Philharmonic Society, 75, 99
Philharmonic Symphony Society,
108
Phonographs, 84-85
Phonograph parlors, 85
O54Y
Index
Pianists, 63, 77, 79, 81
Pianos, 27, 34, 62, 72, 74, 77, 78,
SO, 107
Piano tuners, 71
"Piet Rein," 110
Pike, Albert, 50
Pinafore, 105, 106, 122
"Pines of Rome," 109
Pisarenski, A., 32
Plagge, Christopher, 63, 73, 74
Plainview, 106
Point Isabel Chaunt, 48
Ponce, Manuel, 136
Port Arthur, 54, 114
Posadas, Las, 17-20
Postillion of Lonjumeau, 101
Praha, 58
Prcity Chanticleer, 105
Prevost, Eugene P., 49, 50
- , ince Wolfgang von Anhalt, 76
i'-nncess Ida, 105
l*'i iscilla, 106
''Prisoner's Lament," 63
Progressive Music Series, 40, 56-58
Psalm tunes, 22, 24, 29-31
Public school music, 41, 77, 80-85,
100, 114-116, 118, 119, 122
Puritani, II, 104
Pyle, Henrietta, 116
Quartette Society, 98
Radio, 122-123
"Rain and the River/' 137
Ranger, 121
"Ranger's song," 46-48
Rankin, Melinda, 82
Ravel, Maurice, 110
Records, phonograph, 85, 115, 116,
122
"Red River Valley/' 136
Reed, Frank L., Ill
Reichardt, J. F., 79
"Remember the Alamo," 45
Renard, Frank, 99
Respighi, Ottorino, 109
Reunion, La, 55-58, 137
Revell, Clara, 77
Reybaud, Miss, 72
Rheinhardt, Madame, 63
Rhodius, Udo, 77
Richmond, Virginia, 61, 63
Richmond Academy, 41
Ringgold, David, 49, 52
"Rio Bravo," 48
Rio Grande, 7, 8, 45, 48, 49, 89
134
llivers, Ella, 79, 104
Robbins, J. A., 77
-'lOZOi Hood, 105
Rodwell, G. H. B., opp. 26
Root, Geo. F,, 82, 85
^oae Maiden, 79, 122
"Rose of Alabama," 48
looses of Spring, 31
Rosier, F. W., 63.
Rossini, G., 96, 107, 122
"Rough and Ready," 48
Round Rock, 58
Russel, Henry, 46-47
Kutersv.ile, 62, 82
Ruth, 122
Sachtleben, August, 41, 61, 71, 72
Sacred Music Society, 92
Saengerbund (Texas), 34, 95
Saengerfests, 34, 37, 76, 78, 79,
93-9, 105-7
Saeagerrunde, 76, 9$
St. David's church, 75, 98
St. Leger, Frank, 110
St. Louis, 27, 96, 106-7, 111-2
St. Mark's Church, 74
St. Mary's Cathedral, 72
St. Mary's Hall, 73
St. Matthew's Passion, 122
Salamander, 97
Salisbury Troubadours, 97, 104
Samaroff, Olga, 98, 140
San Angelo, 121
San Antonio, missions near, 8-13;
established, 14; French in, 58,
74-; music in, 10, 11, 14-16, 23,
34, 37, 41, 55, 58, 63, 69, 72-6,
79, 81, 89, 95-7, 99, 100, 104-9,
114, 117, 122, 137, 140-1; first
public school music in, 81;
symphony orchestra, 108
San Augustine, 82
San Carlo opera company, 106
San Felipe de Austin, 35
San Fernando Cathedral, 14
San Jacinto, 24, 26
San Marcos, 121
"San Jacinto," 45 ; "Quickstep, "
25
"Santa Fe" Prisoners," 32
Santo Domingo, 54
Schiller, Friedrich, 76
Schmidt, Charles F., 70
Schneider, P. EL, 97
Schubert, Franz, 95
(155)
Music in Texas
Schulenberg, 99
"Scots what hae," 26
Scotti opera company, 106
Seven Last Words, 122
Shaped notes, 3-1
Sheet music, 41, 45, 61-3, 71, 75
Sherman, 99
Sibelius, Jan, 109
Siegesf^uer, 97
Siemering, A., 95
Silcher, F., 94, 95
Silver Lute, 82, 85
Simmons College, 117
Singers, 27-8, 71-3, 92-100,, 106
Singer's Union, 34
Singing conventions, 31; games,
20-1; school texts, 30-1; schools,
30 96; societies, 29, 34, 37^ 41,
61, 70-4, 76, 91-100, 106
Sisson, C. T., 77
Sisterdale, 34, 93, 95, 96
"Smiles," 89
Smith, Daniel B., 32
Smith, Ellen S., 78
Smith, F. W-, 63, 71, 137
Social classes, 23, 69
Social life, Spanish, 14-21; Ger-
man, 34, 41-42
"Soldier's Tear," 3S
"Soldier's Widow/' 50
Soils, Gaspar J., 8, 9
Solms-Braunfels, Count, 37
"Song of Buena Vista," 50
"Song of Palo Alto,*' 49
l 'Song of Ringgold's Artillerists/'
52
"Song of the Texas Ranger/' 134
Songs, 4, 6, 12-21, 25-8, 30-3. 35-7,
39-40, 45-52, 54-69, 73, 75, 79, 83,
89, 94-5, 97, 100-4, 127-36, 137-41
"Songs from the South/' 140
Sonnambula, La, 101, 105
Sons of Hermann, 99
Sound-reproducing machines, 84-5,
115-6
"South, The," 63
"Southern Marseillaise," 62
Southern Methodist University,
117
"Southern Pleiades." 61
"Southron Chant of Defiance," 61
"Southron's Watchword/ 7 61
Spanish-Mexican music, 14-22
Stalat Mater, 96, 107, 122
Stainer, John, 122
Standardization, 114, 115
Stanton, EL S., 61
Starlight s-chottische* 41
'Stars of Our Banner/' 61"
State Federation of Clubs, 119,
123; of music clubs, 119, 122-3
State music supervisor, 116
State Teachers Association, 82, 120
Steele, Ross Y., 110
Steffee, Judson B., 78
Steinfeldt, John M., 144
Stewart Female Seminary, 77
''Storming of Monterey," 50
Stradella, 76, 105
Stratton, Anne (Mrs. Thomas Hoi-
den), 140
Street cries, 15, 16
"Strike for our Right/' 48
Subsidies, music, 121
Sullivan, Arthur, 104, 122
Sullivan, M. Dix, 50
Supp<, Franz von, 97
"'Sweet Spirit, Hear my Prayer/'
104
Swiss Glee Club, 78
"Switzer's Farewell/' 62
"Symphonic Poem" (Morris), 140
''Take Me Home," 65-68
"Tamale vender's song," 16
Tambourine, 71
Tancreai, 79
Tannhciuser, 108
Tanz, Der, 95
Taylor, 99, 121
Taylor,' Bayard, 50
Taylor, Zachary, 45, 48, 50
"Taylor's Grand March," (Grobe)
48
Teacher training colleges, 116-117
Terrell, 79
"Texan Youth," 52, 137
Texarkana, 121
Texas Band Masters Association,
120
Texas composers, 137-141
Texas Female Institute, 77
"Texas hoch," 37
Texas, national song of, 25
"Texas, Our Texas/' 141
Texas School of Fine Arts, 117
"Texas Star," 28
Texas State College for Women,
113, 114
"Texas the Young Tree of Free-
dom," 45
"Texian General's Address," 45
"Texians Brave/' 26
(156)
Index
"Texians to your Banner Ply," 26
"Texian's War Cry," 26
Textbooks, 11, 82
Theater, 27, 37, 55, 70
*' There's a Long, Long Trail
A-winding," 89
"There's Life in the Old Land
Yet/' 63
Thieleman, Louise Ehlers, 27
Thielepape, W. C. A,., 73, 74
''Through yon Window," 104
Tiling, Moritz, 9E
Tips, 'Walter, 1G7
Todd, Harold Hart, 141-142
Tompkins family, 73 133
Townsend, Cecilia, 77
Trask, Prances, 26
Treble, Clef (Houston), 98
Tremaine, C. M., 116
Tremont Music Hall, 71
"Treue deutsche Herz, Das/ 1 95
Trinity River, 8, 23, 54
"Trinklied," 95
Trovatore, II, 104-106, 122
Tschaikovski, Peter, 110
"Turkey in the Straw," 140
Turner halls, 41, 74, 76
Turner societies, 78, 79, 98, 105
Tyler, 121
Tyler, Mrs. Bettie, 77
Tynapani, 108
"Tyrant Burst thy Chains," 104
Uhland, Johann L., 36, 99
Ulrica, J., 81
"Uncle Sam and Texas/' 45
University of Texas, 60, 113, 114,
116-118, 140
Vaas, H. Ernest, 82
"Vacant Chair/ 85
*'Va ingrate bergere," 54
Van der Stucken, Franz 37, 40, 137
Van Hoose, EL, 106, 110
Van Katwijk, Paul, 109
Van Roo-y, P. G., 110
Velasco, 82
Venth, Carl, 106, 109, 110, 142
"Vera Cruz Grand March," 50
"Vera Cruz Quickstep/* 50
Verdi, 97 104-107, 122
Vernon, 121
Victoria, 121
'"Violette/* 62
Violin, 9, 17, 27, 71, 77, 140
Vogue, vogue, oh ma ftalancelle, 55
"Volunteers, The/' 61
Waco, 79, 106, 111
Wagner, R., 38, 108, 110
"Walker's Quickstep," (Grobe),
49
Wallace, William, 104
Ward, Mrs, Ben, 104
"V, MS 1st des Deutschen Vater-
land/' 95
Wat hen, E., 50
"Watson's Lament/' 49
"Wave, Wave the Banner High,"
49
"Waverly Schottische/' 41
Waxakachie, 78, 106
Weatherford, 78, 121
Weoster, J. P., 64, 65
"\Ye Met by Chance," 62
"We're the Boys for Mexico/' 48
Wesley an College, 83
Wesson, ThGtmas, 26
West, J. M., 81
"SVe were not many," 50
Vvharton, Edward C., 61, 137
"\Vnat is Home/* 65
"When the Fair Land of Poland,"
45
"When the Swallows Homeward
Fly," 52
'White in the Moon," 137
Wichita Falls, 116, 121
Vvie hab' ich sie geliebt, 78, 97
Wieland, C. M., 36
Wightman, Mrs. Mary S., 26
Wilke, C., 37
Wilks, C. C., 32
"Will You Come to the Bower,"
25 33
'William Tell, 104
Willis, Dr., 78
"Windham," 29, 30
Woods, L. A., 115, 118
Work songs, 127-136
World War, 89-dl, 99, 110, 120
"Would'st than have Me Leave
Thee," 50
"Yankee Boodle/' 24, 26, 45, 52
"Yellow Rose of Texas," 128-129
Yorktown, 96
"Yo soy la viudita," 21
Zach, Max, 107
"Zachary Taylor/* 48
"Zauber der Liebe," 97
Zavsla, Lorenzo de, 27
Zawadil, Emil L., 72, 107, 108
Zurich, 137
112859
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